directing approach Quotes

There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

It's interesting when women direct. The work is better. They ask more people to participate.

By and large, I think female directors are far more sensitive.

It's very different working with Vetrimaaran. If he's happy with your shot, all he will tell you is, 'Good job. Go do what you have to next.'

John Milius and Francis Ford Coppola and Oliver Stone - those guys are consummate filmmakers. They believe that you don't talk it, you show it. So when I find a role now, I try to find a visual way to tell what the character is about rather than trying to speak about it.

My directing style has changed over the years. I allow things to breathe a lot more.

There are a lot of directors out there who are very specific, visual craftsmen, and while I have the utmost respect for that, they don't really communicate with the actors.

When I started doing television, I thought that I would change the way that I shot, the way that I blocked, and the technical side of it. You're not going to change your relationship with the actors or how you approach the characters. That wasn't any different.

One of my favorite directors is Clint Eastwood, and I hear about the way he works, and I think I'm of a similar style. Very few takes - you get what you take, and you move on. It's very much a job and work.

Personally, I don't like to talk too much to the actors about the camera choices because I feel like the way I want them to perform is as if it feels very rooted in the real world and that I'm essentially stepping back and just watching and hoping they feel safe with me watching.

Its very hard trying to talk to an actor about how they should deliver lines, or cut their hair, unless it comes from a place of a strong point of view.

There are a lot of women who direct in a way that is even more masculine sometimes than men - and that's not a bad thing, either.

I direct in the same way that I act, which is thinking about what the scene needs.

I'm pretty much a character-driven film director and my movies are smaller. I don't do a lot of coverage. I use lots of master shots.

Sukumar comes from a very different school of working style. He never shoots with set dialogues and scenes. Most of it is improvised on the spot. He'd tell me, 'Rakul, if this is your character, how would you behave? Show me.'

On set I keep myself to myself; I'd rather the director speak up. I'm not gonna direct a younger actor. I think the power of example works best, actually.

Some directors have just one way of working; you either have to adhere to it or you don't.

Rod Lurie is one of the most wonderful directors I have had the pleasure to work with. He shoots like Clint Eastwood: no fuss. When he gets it, he knows it - one or two takes.

Sometimes it's learning how the play wants to function rather than imposing something on it. For me, that's the thrill in directing.

Look at the opening sequence of 'The Blues Brothers,' which starts at the prison. The way it was filmed, it does not look like a comedy. I thought that was great.

I didn't train in directing; I talk to actors the way I talk to anybody.

So many directors these days direct by design and shoehorn you into things - direction or blocking - that they had in mind previously. They're short on time and they want to get that over with so they can get onto the finer details of a play.

It was really cool because you can tell that she directs in a way that she wants to be spoken to, as an actress. That's really nice, and you appreciate that. Dealing with the actors was more important to her than anything else, which was really nice.

I approach directing from an actor's standpoint.

You kind of forget he's Peter Jackson in a way because he's so normal; he's lovely. It's like having a friend direct you, except it's Peter Jackson.