Lesli Linka Glatter Quotes

I love films like 'Deliverance' where you can watch it over and over again and decode all of its many different meanings.

I respect the fact that a director has studied the text and the road map of work before us, the subtleties, interconnections, underpinnings... His job is to paint the entire picture and knows all the colors that have to be in it.

A movie like 'The Apartment' is beautifully directed, but you can't put your finger on why it's such a good movie. It just is, because of all these things that Billy Wilder is subtly doing. That level of filmmaking is something I aspire to.

Acting is kind of difficult to intellectualize - it's a far more visceral experience. It's really hard to be able to think about and then employ these kind of esoteric notions of this person's backstory and try to weave it in somehow. It's just kind of impossible.

The more I make films, the more I feel less inclined to talk about them and just let people watch them. I feel that the pictures are telling the story, and I can't really add anything except just talking about the technicalities of what happened on the day.

On 'Glee,' the director can be like, 'Hey, your face is looking a little too intense here.' And they can show me the screen, and I can be like, 'I know exactly what to do here.'

The first work of the director is to set a mood so that the actor's work can take place, so that the actor can create. And in order to do that, you have to communicate, communicate with the actors. And direction is about communication on all levels.

I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.

Wes Anderson's mind must be an exciting place for a story idea to be born. It immediately becomes more than a series of events and is transformed into a world with its own rules, in which everything is driven by emotions and desires as convincing as they are magical.

I've always been better at informing the audience through images than through words, but I took on a script that was so dialogue-intensive, that the words had to do all the informing.

It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.

Many of my favorite films, if someone were to tell me simply what they're about, I probably wouldn't be that interested. Plot often has so little to do with what's at the heart of a film.

That was the beginning of modern acting for me. You don't have to tell a camera everything. It gets bored if you do and wants to look elsewhere.

In Blow-up I used my head instinctively!

I go through a whole process with the actors first, building and creating characters, then I encourage them to sort of live in that character when they're in the screen.

We're used to a story in modern terms as an information delivery device. Certainly on television and even with the studio films, there's really only one note that you get, and that's clarity. And people will sacrifice everything for clarity. They'll sacrifice the joke. They'll sacrifice the moment, or the romance.

'Barton Fink' owed something to Roman Polanski. As a director, he always goes beyond the obvious narrative drift.

I can watch movies that I've been in, and if there's an emotional scene, I remember specifically what I was using, what I was thinking about, because I am very specific in how I work.

I've seen movies that are slavishly devoted to books but don't work because they haven't turned it into a movie: they've turned it into a dramatisation of the different scenes.

I've enjoyed the singular focus of not going back and forth between the two mediums. It isn't about the screen size so much as film being where the stories I'm most interested in telling happen to be at.

Whenever you write script without a director, you put in things that point toward a style in which the story will be told, a subjective style.

When I prepare for a role, I try to get inside the character's head and understand him.

As a cinematographer or director, I'm always looking for projects that are able to say a lot with the actor's expressions.

Every actor prepares a scene in their own way. For me, it's about understanding the scenario, the room I'm going to be working in, the obstacles in and around the frame, etc.

Filmmaking is a language where you empathise with human situations. Unless you have empathy for characters, you shouldn't be a filmmaker.