A Quote by George Cukor
The truth is, a director wins an Oscar for a writer's script and actors' performances.
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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.
It doesn't matter if you work with an Oscar winner or if you work with an unknown actor. There is always a collaboration between the director and the actors, and you always have to listen as the actors have to listen to you as a director.
When you've written a script, if an actor has a question you're the writer as well as the director, so you have the answer. And if you don't, then you just be honest and say 'I don't know' and then you discuss it. So, working with the actors is fine.
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.
It's madness to hand in a script to a director, leave them alone, and for the director not to want the writer there with rehearsals and the shoot.
The dream, I think, with any project is it starts with an idea, and then somebody writes it, and the writer hopes that a director comes on and makes this piece of material visual, and both the director and writer hope that they can have actors come in and bring something to it that neither one of them expected, elevating it along the way.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
A movie has its own fate, which often doesn’t depend on the performances of the director and actors.
For me, 'Mary Magdalene' is the most beautiful film I've shot with the performances and the script and the actors and ensemble. But not one saw it.
As a director you already have a script, you have actors... you have collaborators when you're a director. When you're writing there's no one to collaborate with, there's no material to look at. I haven't adapted something yet, so, I'm sure that would be helpful. When you're writing an original piece you have nothing.
I'd like to be a director who gives my actors complete freedom while collaborating with them to find performances.
You can't create chemistry. In fact, the chemistry between two actors is for people to see, sense, and judge. The only thing we can do as actors is to come on board individually because we feel the same kind of passion for a script and for a director to cast us because he feels that, as actors, we'll do justice to that part.
In some instances, I would say the writer does deserve equal billing with the director. In other instances the director - especially if he wrote part of the script himself - is clearly more the author of the movie.
As a director, I have to feel realism from actors, and they can't be plastic. The words for me are secondary, but the chemistry between the actors is most important. However, you have to go by the script because it's related to production, otherwise you will not finish your project.
I don't like to work with directors who have taken an adoption from another script writer, because it's too much: one of them writes it and then has to explain it to the other, or maybe the director sees it in a way the writer doesn't want it.
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