Juno Temple Quotes

When you agree to work with a filmmaker, it's important that you accept their world. It's an adventure. I like that. I throw myself into the director's arms, into their universe.

When I give over to somebody's vision rather than have an idea of what I need to do, it takes me to places I wouldn't have got to by myself. I'm always attracted to a strong director.

He was an amazing - John McTiernan really was an incredible director, probably the best I've worked with because he constantly busted me when he wasn't getting what he wanted.

I want to work with a director who becomes my brother, my father, for two months. You give yourself over to that person.

I’m an actor who’s accustomed to bringing a lot of stuff to the table, and you have to be ready because some of them will be accepted and some of them will be rejected. Then you need a generous, free, fearless, loving director like Tarantino to allow you to take those risks.

As an actor you don't control the end result. Because you're a director, you get to control the end result. I think for us, we really have to show up and participate and give. And then let go.

Dark Water was one of my favourite films to shoot because of Walter. I had seen the previous films he had directed, Central Station and Motorcycle Diaries, and I thought they were great. I really trusted him.

I look for the role that excites me and work with whoever that director happens to be, wherever he wants to shoot the film.

What goes on between the actor and director is sacred.

I'd like to work with David Lynch again.

Established actors will challenge you if they don't agree with the way you are taking it, and you have to argue it. But with a younger cast, they are more likely to wonder whether what they are doing is okay instead of trying to second guess the director. That helps push you.

I sign on to any project because of the director: because they won't change, and you've got to feel confident that you're in good hands, in their vision.

When I work as an art director, I don't ask to see sketches from illustrators or photographers. I give them a basic idea, and then I say, 'Send it to me, it'll be fine' - I get out of the way.

What you find with really good directors is that they kind of leave you alone. They've hired you because they know the kind of work you do and the sense of how you'd approach it. So usually, they'll just stand back and maybe give you a nudge once in a while in terms of something specific they might want in a particular scene.

When it's a good director, you can feel when they trust you when they cast you.

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.'

I'm a director's actor, and I surrender myself to the vision and the process. I think nothing else matters then.

The concept of making a movie in which the director dictates is kind of exotic - and absolutely not truthful. Directing means allowing a great deal of collaboration and listening and having the ability to change your mind.

As soon as an actor has faith in a director, he just goes with it.

I've had friends who have come away who've said, "I shouldn't have become such close friends with the director." You always want to get on with the director, but I personally prefer a relationship where you respect them - you get on really well with them, but they're boss, as it were. It's about trusting your director, for better or for worse. They're the one's seeing what's coming out on the monitors, so you have to try and trust what they say.

I certainly like the actor to have as much lee-way as possible. In the same way that director Bong was generous enough to let me create, you have to do that for actors, as well, and let them use the tools they have, and part of that is their own brains and their own words.

When you trust the director you want to trust his or her choices. I don't want to say, 'No, I don't like this girl or that guy," when the director really loves them. No, you want to go with what the director likes.

The work is different in the sense that I haven't had to travel round the world raising money, or work from the genesis of the project. But the collaboration feels clear always, it's sort of my drug, I'm in it for the conversation. The conversation's the most important part of it.

I think what's great about that relationship between an actor and a Director is you have to really blow away all your thing, the safety things that you put up.

A big thing for me is trusting the director, so I don't need to watch playback. I feel like the director is gonna tell me whether it's right or not.