Bryce Dallas Howard Quotes

I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.

I've worked with some really great directors, and I'm really choosy about them because they're telling the story at the end of the day.

I pick different projects for different reasons. Usually, it's a combination of things. I admire the director, and I am interested in working with the director. Or, it's the cast. I can be moved by the story. The ideal situation is you love the director and you love the cast.

Bill Condon, I must say, may have been one of the best professional experiences of my life, collaborating with him. He, himself, is an Academy Award winning screenwriter. He is a storyteller first and foremost, so we speak the same language. We approach things always from the story.

The thing about working with Peter Jackson is that, at the end of the day, he is a passionate artist.

I get involved with projects based on three parameters - the script, the actors involved and the director.

If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.

I've definitely become more aware and conscious of what directors I'm working with because it's so important. The director is really more than half the battle of the film. You really rely on that. That's become really, really important to me, for sure.

Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.

I like to be involved with the scriptwriter early on, helping shape the story, and working out how the story can be told directorially.

I have only recently got interested in film, and it is a strange way of working in many ways. But actually, when it is at its best, it's quite an extraordinary way of working between a director and an actor, to really explore an inner life.

The first and primary requirement for me in a director that I'd want to work with is: do they love writing, and do they love the collaboration process with writers?

I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker.

If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.

When I sign on for a project, I'm there to give the director all the material he or she might need to tell their story, and that's the number one priority.

Actors aren't stupid, mostly, and if there's a sensibility and an aesthetic that a director's going for, if you're aware of that too, you can do things to help that.

I don't look at scripts in terms of commerciality. I just look at the part, the people involved.

I think what makes a good actor's director is the same thing that makes a good director. Acting is just one of the trades necessary to make a movie.

First and foremost, I look for a great script. Then, the team that I am working with. Only then, we will be able to come up with a good film.

My approach to working in movies is to empower the director to have power over me and to really support his vision because he's the guy, at the end of the day, who's going to put it all together.

The dream, I think, with any project is it starts with an idea, and then somebody writes it, and the writer hopes that a director comes on and makes this piece of material visual, and both the director and writer hope that they can have actors come in and bring something to it that neither one of them expected, elevating it along the way.

I guess, as a director, you sort of take the script, and you find ways to interpret it.

Of course I know what works for me and what kind of tone I want my films to have.

When I make a film, the yardstick is my mind. If I laugh at the jokes and feel sad at the serious undersides, then the subject works.

Many times, what's in the script doesn't make it to the film these days, and when you choose a job, you take it based on genre and whom you're going to work with, if you believe in them.