Juliette Binoche Quotes

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.

Every director works differently but one thing's important: they must have a vision. If they don't have a vision I don't care how they work.

There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.

As for my style, for my vision of the cinema, editing is not simply one aspect; it's the aspect.

When somebody can't reveal what they're after - whether by word or by how the camera is set up, lighting, etcetera - it's like an electronic beep beep; it interferes very much with what we actors can do. And, after all, the director wants the actors to be bringing forth the best that they can, according to whatever vision he has.

In film, it's up to the director to tell the story in whatever way he sees fit, and however you fit into that ultimate vision is where you fit in. So what you did on that stage, on that set, may not be what you ultimately see when you see the final product. And TV works so fast, it works so fast, it's just about product. The average TV show, one episode shoots eight, 10 days. That's it. You get three or four takes for a scene, and then it's over. But people do it for the money.

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.

I have an association that director means total authority. Director means they will never let you down. Director means just trust them and fulfill their vision, and know that the story will be told in its best incarnation.

Talking with other artists is an incredible process. You engage with the work very differently...a nd different relationships between different works start to emerge. To tap into that energy-to tap into that moment-is great for me as an exercise.

Establishing what the vision is and being able to stick to it is the job, and everyone should be on the same page, going in. With that said, first-time director or not, you never know what you're going to get.

There are countless times where you're trying to channel somebody who's not there, but that's what you have to do. But Audrey Geisel, who has executive produced this film and Horton, and who works remarkably close with me, is a great source of information. (The Simpsons creator) Matt Groening once told me that one of the most important roles that he fulfills on The Simpsons is being the keeper of the integrity of the original vision.

I think that if you just kind of try to throw together a sketch show, but you don't have any real vision for what you want to do with the sketch, I don't think your chances are very good. You know, "Let's just have a sketch show!" You have to do something different with it; you have to reinvent that form every so often.

I never thought of being a performer, never thought of being a singer, never thought of being a photographer. It's just the trajectory of my work. I go to the medium that serves the vision.

At best, I think of a director as a magnet. You get all the metal fillings in all the individual actors and crew, and get those filings moving toward your magnetic direction.

The picture must all come out of the artist's inside, awareness of forms and figures... It is more than memory. It is the image as it lives in the consciousness, alive like a vision, but unknown.

It was like that all the time, in those years: an endless trip, a gaudy voyage. But powers decay. Time leaches the colors from the best of visions. The world becomes grayer. Entropy beats us down. Everything fades. Everything goes. Everything dies.

I also became a poet, and for one year lived in a Paradise of my own creation; I imagined that I also might obtain a niche in the temple where the names of Homer and Shakespeare are consecrated.

All you need to paint is a few tools, a little instruction, and a vision in your mind.

In the 10 years that I've been a professional filmmaker, the film part of the film industry is really disappearing, right in front of our eyes.

Directing is like cooking, it's like cuisine. You cannot make a great dish with bad ingredients. I have great actors, and I'm putting them together. That's all I'm doing.

In Korea is what I do is I watch the playback of each take with all of the actors and spend a lot of time discussing each take. Also, I use the process we call auto-assembly because I storyboard my entire film right at the beginning, even before pre-production ever begins, so my vision is already laid out on the storyboard for everybody to share. It enables the on-set assembly person, as we call them, to cut together each take into a sequence. This enables a director to review the take within the context of the sequence of the scene.

We were doing Scarface many years ago...and I remember having my coffee and looking at the beach, the surf, and I saw a hundred people looking out into the ocean. I thought, what's going on? Did some whale get washed up to shore? So I stood up on the table to see what it was, and it was the director, Brian De Palma, standing there alone by the surf and they were all waiting for him. And I never forgot that because it represented to me what a director is, what a director does.

I think what qualitiy make for good directors is being able to articulate what you want; it can cause problems with a lack of communication. I'm not an actor who requires much talking to a director, I don't want to sit down and discuss a scene for hours and hours; that would bore me.

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

When I make a new movie, I always get stuck with, "That's not an Oliver Stone film." But I don't know what to do about that except just move on.