Eric McCormack Quotes

Rosemary Rodriguez directed on Rescue Me for us, and I love her. She's fantastic with actresses and she's got a great sense of humor. That was a huge thing for me.

I admired Stephen Daldry very much; I think he's a brilliant director, and also, I feel close to him because he has a lot of theater behind him. He's also a man of great imagination and a lovely sense of humor.

The director in TV and the writer and the creator are working very much hand in hand.

I was, in my day, one of the best directors of episodic TV around.

After I directed for the first time, I wanted to call every director I'd ever worked with and apologize. In television you are tasked with shooting 42 minutes, or whatever, in eight days. That's not a lot of time.

I worked with Roger Moore on three episodes of 'The Saint.' He is a lovely man, a good director, and was my favourite actor to work with.

I like working with a first time director. I'm more likely to work with a first time director than I am a second time director.

They were nicely written and nicely directed episodes [Star Trek: Enterprise]. I enjoyed working with Scott [Bakula]. So it was good to do, and, as you said, it did serve to enhance the Soong legacy.

Unless you're a directing producer of a television show, for the most part, the director comes in one week to direct and episode, and then leaves. I'd much rather produce television and occasionally direct an episode of a show I'm producing, then just come in as an outside director.

The difference between directing film and directing television is so stark simply because TV is a living breathing organism already when you direct an episode.

I depend on good editors and a good director. It's up to the way they shoot it, the lighting and all that. I like how small you can be on TV.

[Brad Furman] wants to try stuff, he's willing to try stuff. And he wants electricity on the camera. And that's what I want, I want electricity whenever I'm performing.

There are two parts of me. There's the really critical, film-nerd part of me that loves that, and then there's the part of me where I'm like, "I really didn't like that movie, but I want to work with that director because he loves actors."

I worked with John Maybury on The Jacket and I think he's an extraordinary film-maker. I read the first drafts of this piece when I was working on The Jacket, and we'd so fallen in love with him that we thought he was the only person that should direct this! We wrote poems for him, we sent him champagne and cakes. Four years later he finally read it.

I'm trying to avoid any more asshole roles, at least for a little bit. The main criteria for me when choosing a project is a good director. I just want to work with these guys that I admire because I do want to direct my own films one day, and I want to pick their brains to see what their process is like, and see what I can take from that.

Woody Allen is kind of the one example I don't have. Because the way he works and the amount of shooting time that I did on that film, I didn't really get to know him, so he kind of stays as "Woody Allen" to me.

I think directors should at least take acting lessons to see what's going on. And I think all actors should direct to see what a director has to go through.

The idea to put episodes out weekly in theory makes as much sense as putting them all out at once.

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.

Well, there's a great Marlon Brando quote that to do something well you have to spiritually marry your director. You have to be making the same movie they are in that you have to try to help their imagination be better, and more full, and more fully realized, but you can't have a different imagination because then you end up - and you see this a lot in movies - where it feels like they were making five different films.

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.

[Mike Tyson] was fantastic. Well, here's the cool thing about Tyson. It turns out he's a huge fan of Old School, which was one of Todd Phillips' earlier movies. So he got to the set and he already liked Todd and he trusted Todd.

A lot of the projects that I do, I like to be involved with earlier. I just feel that, certainly from an acting point of view, it's easier to do my job, if I'm included in what the intentions are, for why people are doing what they're doing, especially with a director.

In some ways, many of the skills you have as a producer on independent films also apply to making big tentpole films: You surround yourself with a brilliant director, great script and talented people in every department who are smarter than you.

I already love acting and I love actors, so being able to communicate with actors and to bring performances out of them, and to tell a story and aid them, is really exciting for me.