Bailey Chase Quotes

And I think being a good director is being able to be completely tyrannical and you've got to be an absolute dictator while at the same time, you have to listen and see everything because it can all change on a dime.

I've worked with a lot of first time directors; in fact, I enjoy it because there is a certain beginner's mind that they bring into a project that isn't loaded with the way things have been done before. There's a certain freedom to it.

Cinema is a director's medium, so you're saying, 'What do you want?' Being an actor is about adapting - physically and emotionally. If that means you have to look great for it and they can make you look great, then thank you. And if you have to have everything washed away, then I'm willing to do that too.

Listen, there are some movies that are set in stone and the writer or the director does not want to change, but I've never worked on a movie, including my own, that didn't take advantage of a rehearsal process.

I really think the mind of someone who hasn't been welded into place by their work or studios or actors or this whole society is a wonderful mind to work with, so I'd like to do a big picture with an unknown director.

I'm always open to the possibility that somebody's got a better idea than I have. It happens with some frequency.

You cannot rely upon what you have been taught. All you have learned from history is old ways of making mistakes. There is nothing that history can tell you about what we must do tomorrow. Only what we must not do.

From my side, I don't put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director - that way, I think, I don't get to do the similar roles.

If you're going to make a sequel to 'Sicario', you have to - you know, you've got to go beat a brand new path.

I don't want the baggage of knowing things when I walk on to a set. I am more comfortable being an empty slate, surrendering before a director and writer's vision. I've realised that this is the best way for me to function.

Young directors are a delight to work with. With no preconceived notions, they provide enough creative fodder for actors.

When you do a movie, it's like going on a journey. It's really like the director is the captain of the ship, and that energy, everybody feels.

You're looking for the best way of shooting it, but sometimes the best way of shooting it is changing the script.

There's some things that you're passionate about as a director. You just know it has to be a certain way. The challenge is resolving those so everyone is happy and no one feels that they have not been heard.

I discovered very soon, especially for movies, because I started in theater, that every director has his own universe. You have to be free enough to try to understand what he wants from you. Especially when that director has a tremendous personality. And I'm talking about people like Pedro Almodovar and Robert Rodriguez and Quentin Tarantino and Woody Allen. And you have to adapt. If you don't adapt to them, you are off the thing.

If I really want to do something, I'll go in and do whatever the director feels that he needs me to do.

Being the new guy's always great because you get to go in fresh with your own choices and you get to bring new life and breath and a new energy into something that's already established.

You want to give the director what they want, and you don't always know exactly how it goes, so you want to try it a few different ways. You have to be flexible; you have to be in collaboration with the director; you have to be versatile. But you also want to be protective of what you really believe in and how you feel it should be portrayed.

I'm really a big believer in working with people. It's challenging for me to come into already integrated brands and find a way where I can put my own flair on it.

Of course I would change anything if John Cassavetes said so - it's his script. But he was very easy about that.

I don't want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away. I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives. I feed off that and work off that. I don't like to be too prepared, no. However we define too prepared, if I feel it's getting that way, then I'll back off. My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.

I love being directed. Because it's another thought, it's another fresh idea. You're so grateful for an original idea that you haven't had.

I feel like my own background in improv and doing documentaries makes me really comfortable with a situation where you're letting things unfold and you don't have to be a jerk, stomping his feet, trying to get his way on everything.

Barry Jenkins just cast the right people and framed things the right way.

Good or bad, the one thing I can say about my art is, if I can quote Sinatra, I did it my way.