I've had really great experiences working with first-time directors. They come at filmmaking with fresh ideas. I've been very lucky that way.
I've worked with a lot of first-time directors who kind of look to me for ideas and opinions and stuff, and I'm a team player.
There are times when you work with directors on set, and things are a bit rudderless, and those can be good directors.
Actors know how to talk to other actors in a way that sometimes other directors just don't.
I don't make my living writing; I make my living as a producer and as a director.
You work with great directors and terrible directors, and so you learn; you take what you think will work for you.
I don't think Hollywood makes many good films anymore. How many directors can you really trust to have an artistic vision, not a corporate vision or a watered-down communal one?
My Mom is a ballet director, so I had this idea in me that classical training is the best foundation for anything you do, so I wanted to get a classical background and voice.
I've turned down jobs because I've said, 'Honestly, I can't find my way in. I can't do it. I love you, as a director. I think the script is good. You deserve better than I think I can do.'
A lot of times passion projects or films are difficult to make because they don't have proven directors attached to them.
I think Polanski's an amazing director.
To be honest, the real reason I did 'Drive' was because of Nicolas Winding Refn, the director.
I was, in my day, one of the best directors of episodic TV around.
A director recommended me for the role on 'Soap.' They said, 'She plays heavy roles, murderesses and the like.' He said, 'On stage, she could be very very funny.'
For 'Vicky Cristina Barcelona,' for example, Woody Allen is one of the greatest American directors, and we really had a very good working relationship. We understand each other really well. He gave me one of the best opportunities somebody has ever given me in my career.
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