Michael Douglas Quotes

As the director, it's just a constant stream of meetings where you meet with all of the creatives who make all of the decisions for every part of the episodes. You're also scouting for locations, deciding on the locations, meeting with your first associate director; mine was Jennifer Truelove. She's one of my favorite people on the planet.

Show-running is a very difficult job that includes so many responsibilities; I'm working with the actors, working with directors, writing, making decisions like, 'What fabric is that sofa gonna be?'

Let's put it this way: if I were to direct a feature film, I would not be in it.

There was a choice of being a director who's more familiar with the technicality of doing a movie, like learning about the camera and filters and setup, or being a director who can actually talk to actors. And I always wanted to be an actor's director.

The first assistant director is just so important that the choice of that person is critical to the movie.

As a director, my job is to protect. I protect scripts, actors, cameramen, designers.

I often compare putting a hotel together to old-time movie production. You come up with a story line, you hire the writer, the director, the stars, the set designer.

I was amazed by how much you have to think about as a director. As an actor, you don't have to think about much at all, as it turns out. It's very easy. And then when you step into the director's role, there's this whole universe of stuff that you have to pay attention to that's amazing to me.

I'm very interested in directing actors - many directors direct cameras.

Making a movie is a lot of problem solving.

I actually started as a model builder and quickly progressed into production design, which made sense because I could draw and paint. But I kept watching that guy over there who was moving the actors around and setting up the shots.

But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.

I admire directors so much, I find them incredible: they manage such a huge number of people of different characters, think of the money involved.

A director makes 100 decisions an hour. Students ask me how you know how to make the right decision, and I say to them, 'If you don't know how to make the right decision, you're not a director.'

All directors have their strengths and weaknesses, as all actors have, and all artists. What you try to do is complete the relationship and take care of the stuff that the director won't take care of.

You - as a director, you have to do your job, you have to show things, and you don't have to ask the actors to do it, or the dialogue.

I've been doing second unit for years, which is sort of like directing mini movies. Now that I'm directing entire films, it's really just more of everything. There are a lot more questions that need answers.

From Rebecca Miller, I took the idea that the director needs to arrive every day an hour ahead of everyone else and walk through the entire day.

Directing is a very, very difficult job.

My job is to kind of nudge them. Who said it, where, like, '90% of the job is casting,' so all I do is try to come to set and focus on getting all the best shots to cover the story; that's really it.

I don't know what directing actors is all about apart from just casting well and then shaping their performances a bit, you know.

Nitesh Tiwari is so particular about his pre-production, where he plans every aspect of his film.

A director should be in a position where he is only directing. On the sets, he is only looking at the performances, thinking 'How I am going to shoot this?'

The idea of acting on the first 'Halloween', it didn't really apply to my eventual work, working with actors.

A director really doesn't deal with performance that much, especially if you deal with great actors. Their work is the performance. What you're helping them with is all the stuff they cannot be in control of.