Jacki Weaver Quotes

I worked with Steven Spielberg on Amistad... he seemed so very secure in himself that he let me do things.

Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.

I've certainly worked with really great directors who haven't acted.

All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the film.

Going forward, I would love to work with directors like Rian Johnson and Joss Whedon; people like that who are doing big films but do have really independent voices. That's kind of what I want to focus on, is always working with people with at least an independent point of view, even if it's not an independent film.

When you agree to work with a filmmaker, it's important that you accept their world. It's an adventure. I like that. I throw myself into the director's arms, into their universe.

He was an amazing - John McTiernan really was an incredible director, probably the best I've worked with because he constantly busted me when he wasn't getting what he wanted.

Tim Story is a fantastic director, and I'm so excited to get to work with him.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

I produce the way I would love to be produced: In ways to create the best conditions to make your movie, but also to create a space in which the director calls the shots.

I love David Fincher - even though it was just two scenes, I loved the way we worked and could tell by the way he was shooting it that this was going to be an affective movie to say the least.

It's such a strange combination that I'd be unhappy to make anything like that without Landis directing.

Obviously I'd love to work with any of these great directors because every time I've worked with them I've gained a tremendous amount as an actor. Each director has his own way of pushing you towards improving yourself.

My approach to working in movies is to empower the director to have power over me and to really support his vision because he's the guy, at the end of the day, who's going to put it all together.

I've worked with Terrence Malick, Werner Herzog, Olive Stone and David Gordon Green, and Damien Chazelle on 'First Man.' When you have someone at the helm like that, they're gonna make something great.

If I was to direct Ron Howard, I guarantee you, I would put him through a living hell every day. I would demand so much of him. We wouldn't quit until he leaves the set crying. Weeping! Spent!

I always loved doing a movie with Daldry. That's always a huge factor for me.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

It's so hard to find a director who, when you look at their body of work, you like everything.

When I give over to somebody's vision rather than have an idea of what I need to do, it takes me to places I wouldn't have got to by myself. I'm always attracted to a strong director.

I love working with directors who have good taste. It's incredible when a director can say something and things open up for you. I went to The University of North Carolina School of the Arts, and some of my best experiences on sets have been working with other alums.

Tim also has enough confidence so that it always looks like a Tim Burton film, but it really is collaborative. You're allowed to do it your way but of course he's always going to choose his way.

I love writing. Given a choice, after directing for all these years, and if given an army of talented directors, I would not direct at all.

I learned that the best way to work is to allow the scene to live on its own before making major adjustments, whether in rehearsal or on film.

Oh, I love making independent films, it's such a special, magical thing because you collaborate with a small group of people and everyone's pitching in. You'll see producers setting up the lunch table and the sound guy driving a van. We're all really there because we want to be.