Craig Revel Horwood Quotes

Having a director who is also an actor makes for that very relaxed way of working and it's empowering.

You don't always just have to do an indie movie to feel like you're controlling it with a few people that you really have connected with, creatively. You can do it on a bigger scale.

When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.

All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the 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.

Jeph Loeb has been great to work with, and he's been really supportive of some really bizarre ideas I've had.

I'm the type of actor that believes the director has to be in charge. I've been on sets where the actor's ego was the most important thing, and with a director that messes it up. But I don't like a dictator, I want it to be collaborative - the best idea wins. If I feel respected, and I'm going to give that back. If a director wants to try something, cool, I'll give it back. I also feel like they cast me for a reason, so I'm going to make my mark on it... let me do my thing.

I wanted to work on a cable show and with a writer/director because that's a much more fulfilling and freeing experience, as an actor.

I think it's possible to be free in a big production. It's the eye of the director and the actor and the story.

The network shows tend to be run, in general, in my experience, by committee, and it's hard for actors and writers to do their jobs.

The director is the ultimate creative arbiter of what's going to happen. And as a director myself, you really appreciate collaborating with people who are trying to help you find what you need and what you want.

The actor is concerned with his own bit of it, but the director's somehow trying to work the whole thing into a much bigger picture. It's like conducting an orchestra.

My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I'd like to build something to that effect.

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.

Other times you can get showy for three minutes, and that's OK with certain films. But that isn't right with an Ang Lee movie, you have to fit right in. You have to understand Ang, respect him and be part of the team and not be in charge of it - he is in charge of it.

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.

I love writing. Given a choice, after directing for all these years, and if given an army of talented directors, I would not direct at all.

It's the reality: film is a director's medium, and, ultimately, they are the ones that are in charge, and you have to respect that because somebody has to be in charge. But, yeah, you do reach a point where you want to have your voice come out.

For me, being a director is about watching, not about telling people what to do. Or maybe it's like being a mirror; if they didn't have me to look at, they wouldn't be able to put the make-up on.

The directors I respect are the ones who have a collaborative attitude, who collaborate with actors.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.

I've certainly worked with really great directors who haven't acted.

I've always worked with people who have been supporters of me creatively.

I love it when a photographer lets me create my own movement and feeling to the images. By that I mean he doesn't restrict me in his or her own ideas but rather gives me a direction and lets me work within those boundaries freely.

I'm obviously really opinionated, but as a producer, you don't necessarily want the person you're working with to try to impress you - you want them to just be themselves. Then you can edit or mess around with what they've come up with. But you have to allow the artist that space.