Douglas Booth Quotes

While doing 'Ghazi,' Sankalp said he wanted me for his next film. He is a genius. There is always a mini-war going on in his brain, though he is a reticent person.

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.

I look at the script first and who's directing it and then talk to the director to find out what his vision of the movie is and if it matches my vision and then we go after it.

There are two kinds of filmmaking: Hitchcock's (the film is complete in the director's mind) and Coppola's (which thrives on process). For Hitchcock, any variation from the complete internal idea is seen as a defect. The perfection already exists. Coppola's approach is to harvest the random elements that the process throws up, things that were not in his mind when he began.

I'm working on a project called Lemons, produced by Killer Films. The director has a great perspective on character development.

I'm all about working with directors that are doing different techniques and I think everyone has their way of getting it to the place that they think is best.

Being a creative person. It's so much more rewarding when you find things on your own, to live whatever the writers are writing or to display what the director is looking for. You are the thing that everybody uses to get the story out.

The work of a director can be summed up in two very simple words. Why and How.

The particulars of life do not matter to the artist; they merely provide him with the opportunity to lay bare his genius.

A movie's very different from the book, and it's different from the script, and it's usually one person's vision.

If a director can find the exact combination between the written word as a guideline and improvisational input from his actors, I think that's where you'll find the most successful work being done.

Over the long haul I'd say that most directors I've worked with have been pretty sensitive to the quality of the interpreted scenes.

In the best of all possible worlds, directors would obsess about the quality of their storytelling, and not the details of their technical methods.

I try to offer as much as I can to the director so he has as much to work with as possible to create the character that, really, he wants to create in a sense.

You know, there are a lot of directors, like Clint Eastwood (on Changeling) is one where he casts you and you know in many ways that's enough for him and so, you go, ok, well, he saw something. Ok, what is it that he saw? What is it that I brought to this and why am I right for this and not trying to double-guess it and get in your own way and get psyched out, 'cause he trusts so much.

I believe that each work of art, whether it is a work of great genius, or something very small, comes to the artist and says, "Here I am. Enflesh me. Give birth to me."

Drawing is a kind of hypnotism: one looks in such a way at the model, that he comes and takes a seat on the paper.

It's great working with directors and with somebody else's vision.

Every director is different. One of the great things about getting to work with so many directors in one TV series is collaborating with different artistic visions and voices. And they all have something to offer and making the story better and bringing their vision to what you see in the frame.

There's very few directors that know what that rehearsal's for. And often it's just about calming down the director. If he could see it or she sees it, she goes oh, it's going to be okay.

In fact, the difference between creative and interpretive, it all starts with the writing. Then if you can get the money together to make the film, then you're in touch with the visuals and the actual creation, and the sound of what you want to mean. Of course, some directors get inspired by what people do anyway. Don't feel the need [to stick to the script]. In fact, they sometimes go "That's not what I had in mind, but that suits the purpose well.".

I begin by imagining an artwork verbally. I try to describe in writing what the project is, what it is trying to do. I need to understand the artwork without giving it a specific materiality or solid form.

[Martin Scorsese ] basically works just like any other director. You work the scene, you try to find what's best in it and make it work. That's what it was like.

There are directors that I want to work with and that I admire. You can love a script, but if it doesn't have a good director, it won't be that.

Acting doesn't exist in a vacuum. You need the director to have a set of eyes.