Jake Gyllenhaal Quotes

If someone were to hire me for a film they'd be getting a certain kind of package, that's for sure, a certain set of tools. But I would listen to the director.

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.

Any time Chris Nolan wants to call me for advice, he can.

Once you get an offer from Steven Soderbergh, you just do anything you can to make it fit.

I have no directing ambition whatsoever. And as long as I meet filmmakers like Tom Hooper, Stephen Frears, and others who allow that collaboration, I can't see why I would ever want to direct.

It was a great learning experience to work with James Stewart.

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

My biggest inspiration is to work with interesting filmmakers and learn from them in any way that I can.

I've been fortunate my whole career because I've had great guys to learn from.

I am indeed fortunate to work with some reputed directors like Balaji Sakthivel, Sekhar Kammula, and KV Anand sir. Each one of them has a different style, and every day is a learning experience for me.

As a means of supporting experiential element in film, once I begin to work on a particular movie I consider myself to be the tool of the director.

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.

Therefore, when you see the end result, it's difficult to see who's the director, me or them. Ultimately, everything belongs to the actors - we just manage the situation.

I discovered very soon, especially for movies, because I started in theater, that every director has his own universe. You have to be free enough to try to understand what he wants from you. Especially when that director has a tremendous personality. And I'm talking about people like Pedro Almodovar and Robert Rodriguez and Quentin Tarantino and Woody Allen. And you have to adapt. If you don't adapt to them, you are off the thing.

I think Clint Eastwood is a well oiled machine. Everyone that works with him has the same reaction, "Can I stay with you?"

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

I just want to thank Wayne for even mentioning me. I've been following his career since he started, just watching him evolve. He was always clever with the rhymes. My own quest was always to get my music out to everybody in the world and working with Wayne is truly a way to get it out there.

Roman Polanski actually said as much to me once. He had his head in his hands, and I said, "Roman, I've got to tell you, as an actor, seeing the director with his head in his hands... Look, I really want to do what you want me to do." And he went away and he came back, having obviously thought about what I said. And he said, "When my head is in my hands, I'm closing my eyes and trying to remember what I saw in my head, before any of the stuff."

I would love to work with Ron Howard. I think he is brilliant. I love the stories that he chooses. Theyre always very personal and intense. He loves a lot of emotion, and hes so well equipped to pull all of that out of the actors. I really love that kind of thing and I think thats what movies should be about.

It's rare that I'm working on a movie and that's the case. My goal is the same, ultimately at a certain point you give it to the director and their vision. You're there to support that vision.

Bill [Condon] is such a great actor's director. He cares about what you're thinking. And, he's very open. Even though he was pressed for time, and he was doing two movies at once, and all this stuff was happening around him, he would still take time to sit there and talk to you about your scene and your character and what you were going through. That was really a treat.

I'll be working with Ridley's [Scott] brother, Tony, again, someone who needless to say we've had a great amount of success together. I trust him - so I won't have to think about it or I'll try not to.

Television in America is so elaborate. There are so many remote cranes, and they have all the toys to play with. The directors are really good. They really work with you. So, I'm not really on set thinking, "Oh, my God, this is television. It's very different."

People think women directors are tough. Truth is, I'm a pussycat and I hate conflict. I just want everyone to be happy on set.

I think you have to be ready to switch gears and go with the team as a director, as opposed to superimposing your own strict idea of the story. There are very few directors that can micromanage and still come out with something that's living and breathing on a page. Wes Anderson is one of those.