Eric Idle Quotes

I've gotten to work with some wonderful directors and people who have been great teachers to me.

I learn a lot from every director that I work with. I sit on set and watch them, every one.

You work with great directors and terrible directors, and so you learn; you take what you think will work for you.

Everything starts and ends with the song, and working with writers and really learning their process and craft was an invaluable experience.

I feel fortunate. I've really gotten to work with amazing talented people, and to learn from them, which is why I'm doing this. If I can work with the best director I'm going to do it.

I just really want to continue to play those roles where I really have something to do, and mainly, above all, work with people that I can learn from - directors I think are so great.

I really just want to work with good directors and learn as much as I possibly can.

Working with directors like Gurinder Chadha was a learning experience for me.

I was associated with Shaimak Davar for three and a half years and learnt a lot from him.

Your director is your everything and you devote yourself to them and you want to help create their vision.

Having Alexei Ratmansky create a new Romeo and Juliet for The National Ballet of Canada to mark our 60th anniversary is a dream come true. His aesthetic -- steeped in the Russian school but open to contemporary sources -- is ideal for this work and for our company, which, with our classical heritage and our passion for the modern, is perfectly suited to his distinctive dance vision.

I cherish each director that I have. I want to be maneuvered out of my comfort zones. I don't have the time to prepare.

I think that I just need to work with great directors and actors, people who are better than me, so that I am challenged.

Sometimes you have to say the words exactly how they are on the page, but sometimes when you improv, it only helps to get across what's on the page, and I just love working with directors who allow that.

I made a conscious effort that I just wanted to work with people that were going to make me better and that was the main thing - writers, directors, in whatever medium.

The actor shouldn't edit themselves or be anxious. And the actors that I admire are always the ones who are inventive and their imaginative life in free-willing. It's a director's job to go, "No here, don't do that, go there."

I love to play music, and this is fun, and let's record this stuff in a way that we both like. That was exciting enough, so we just recorded it. There was no business in it until the very last minute, really. It was really as much of an extension of me writing the songs in my bedroom as it could possibly be.

When I just write something, it's usually because I love it, I love the material, but I feel like I really need a creative partner to crack it. And I certainly need and have a lot of creative partners as a director.

As you get older - for example, in our band we have members of our orchestra, like Carlos Enriquez and Ali Jackson and Walter Blanning. I taught them when they were in high school, and now they teach me.I'll regularly call Ali and say, "Man, can you break this rhythm down for me?" Or Carlos was actually our music director in Cuba, and he's been instrumental in a lot of my education, and I started to develop a saying with them, because they tease me all the time - you get older, you have that familiar relationship - I say, "You have to follow your young leadership, too."

It's good when someone says, "Would you write a song for this purpose," or "would you record a song for this purpose," or "would you help me realize this song," again, for this purpose.

To be able to work with someone who you learn so much from is a really valuable experience.

I learned a lot from Clint [Eastwood], who's an extremely economic director. I learned a lot from Michael Winterbottom, who really gave a lot of trust in the actors and allowed them to live in the space instead of trying to manipulate and make it too set and too staged. Working with [Robert] De Niro taught me a lot of being an actors' director and what that is. I've learned a lot from pretty much everybody. Hopefully I've picked up something from everybody I've worked with.

There are so many great directors that I haven't worked with and that I would love to work with.

Movies are certainly a director's medium, so getting the opportunity to work with really good directors is everything to me.

The relationship between an actress and her director is often a very close one.