Morgan Freeman Quotes

Sometimes you see things in a script, and it doesn't necessarily mean the director sees the same things. And if you think you're going to be making a different film, then that's not gonna work.

I'm not signing on to direct 'Black Panther.' I think I'll just say we had different ideas about what the story would be. Marvel has a certain way of doing things, and I think they're fantastic, and a lot of people love what they do. I loved that they reached out to me.

If you have 130 people on set, all with different opinions, sometimes it's going to kick off. There might be some people who say I'm a big problem to work with - that you couldn't tell me anything - but hopefully, they don't.

Sometimes, I've had the experience with a director where I didn't share the same vision of the movie.

You would be surprised how many directors don't know what they want. They might not know what they want until they see it, they might know what they want but no idea how to get it out of the actor, then you've both got a problem.

When you have an author and an auteur, it's a difficult and challenging relationship.

The real drawback when you write with a partner is that where you want it to go and where they want it to go is similar, but not exactly lined up, and that's where it's going to lead you into trouble.

There's no such thing as an actor giving positive criticism to a director. The minute you say 'Don't you think it would look nicer...', that director's going to hate your guts. Particularly if it's a good idea.

Tim and Fritz Lang I loved working with. Not Hitchcock so much. There was no communication.

When I started 'Hudson Hawk,' I realized I was dealing with a strong-willed producer, a strong-willed actor, and, at times, a strong-willed studio, and I was the junior partner in all of this - the guy who hadn't proven anything in terms of box-office success.

I had a sort of bad experiences as a playwright early on, when directors were putting in huge concepts that I didn't intend, or they were stylizing something that was compromising the play, so I started to think like, 'Well if I'm going to fight against this, I should learn how to direct.'

You make one solo album, and some people swear you're about to leave the band or there are creative differences.

There comes a point with any collaboration like that where you start having other interests creatively. I was moving in one direction musically, and as a guitar player, Mark wanted to move in another direction. That was essentially the reason we broke up.

It's a very tricky relationship, the cinematographer and the director as a woman.

Sometimes my favorite directors are the ones I literally want to punch in the nose.

Directors are the fulcrum of the movie. They guide us well, not merely rein actors in. Whenever we stray, they bring us back on track.

My gaze is very different from that of Ekta Kapoor's, and that is quite visible in those two films - 'Ragini MMS 2' and 'Jism 2.'

There are directors, and I think this is true of all directors, it would be true if I was a director - If the actor didn't want to do what I was suggesting, I would let him do it his way, and then I would say to him, "Just give me one where you do what the director wants", and that, of course, is the take that's used.

Every film I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.

When you try to be true to the script, changes occur. A script is there to show us a certain direction. But when you actually have the actors in and you start shooting the movie, you have the actor say a line and it doesn't sound right so you change it and make it different. It's the script that gives birth to these changes and the more you try to stay true to the script, the more that happens.

I'm very patient and always willing to try things but I have some resistance as well because I have my own vision. I have resistance sometimes because I see a director who's freaking out and wants to have control and they sometimes anticipate about what I'm going to be doing or not.

Whether you're a cameraman or a director, you should ask yourself every now and then, 'What am I trying to do?' Be honest and keep things very simple.

As a director, you're only as good as your collaborators. You surround with collaborators that are going to understand what you're trying to do. Not only that, they're going to push and fight for what you're trying to do.

I want an actor to try to give me what I ask in the best and most exact way possible. He mustn't try to find out more, because then there's the danger that he'll become his own director.

Writers can get very angry when an actor says, "I don't know, I don't feel very comfortable with this line." Sometimes though, you're working with a writer for whom that is simply not apt - like Harold Pinter.