A Quote by Zhang Ziyi

A movie has its own fate, which often doesn’t depend on the performances of the director and actors. — © Zhang Ziyi
A movie has its own fate, which often doesn’t depend on the performances of the director and actors.
I'm not a great director or an auteur; I'm an ensemble director. I do think I can get wonderful performances out of actors.
I think that what's important as a director is to give your actors the feeling that they're protected, the feeling of confidence, the feeling that if they make mistakes, then as a director, you'll know how to help them. If you're able to convey that, then the actors will give you wonderful performances. As well as the author, you have to write scenes that give the actors the opportunity to show what they're capable of.
Period films to me are very often alienating to the audience. There's very often a formality. A staunchy quality to them that comes from the misenscene. It also comes from the performances of the actors, because they're acting Victorian which really means that they're just acting the way they've seen previous actors act Victorian.
I would love to get great performances from actors as a director, because that's what I'm always looking for, a director that's going to help me go places I've never been before.
I feel like this is the way I was meant to interact with acting. Which is as a director, and helping, working with actors to find their way. Facilitating their performances is so satisfying for me.
When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
To have a director that loves his actors is something that you can see in the film and in the fruits of that labor. You can see that translated in the film. When you watch this movie, you can see a director who loves his actors, and it shines through the movie, in my eyes.
The truth is, a director wins an Oscar for a writer's script and actors' performances.
I think I'm an extremely conscientious producer and now equally as a director and it gives me the opportunity to look at the entire movie and really allow the movie to be the creative vision of the actors, the writer and myself, because I'm in charge of it from a producer and a director point of view.
There's nobody who loves being around actors working more than David Mamet, especially actors bringing his tremendous dialogue to life. I've never seen a movie director who was happier to be directing a movie than Dave.
There was a choice of being a director who's more familiar with the technicality of doing a movie, like learning about the camera and filters and setup, or being a director who can actually talk to actors. And I always wanted to be an actor's director.
I'd like to be a director who gives my actors complete freedom while collaborating with them to find performances.
It's depend of the communication, I think it's very important to let the director make his own vision of the character, not making a studio movie. Look the Dark Knight it's totally the vision of Nolan.
I really trust the authenticity of real people and my job is to get them to be themselves in front of the camera. Often what happens is, you'll get a newcomer in front of the camera and they'll freeze up or they imitate actors or other performances that they've admired and so they stop becoming themselves. And so my job as the director is just to always return them to what I first saw in them, which was simply an uncensored human being.
In the life of a director - these days in particular - when it really does take so long to do a movie, with a few exceptions, actors may never work with a director again, even if they're great friends.
If a movie doesn't even have financing yet, they'll do a table read for it at a casting director's office with actors, for the producer and the writer, just to hear if the movie is working.
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