David Zucker Quotes

When you're with somebody for some years, sometimes you need a break from 'em. You grow in different directions. That's kind of what happened with me and the Eastside Boyz. They wanted to do different things than I wanted to do, so we separated.

Some directors hardly talk to the actors at all.

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

I think directing in a team is a really good idea because it stops the cult of the director as God straight away, and also you're discussing things on set so it opens it out to everyone and it becomes a totally collaborative thing. And you have someone who supports you when you're feeling a bit insecure.

James Ivory comes close to the actors for the first rehearsal. He more or less lets you direct yourself and then will only correct you if he finds it incorrect.

Good directors can bring certain things out of you, with their intensity or gentleness or sensitivity or understanding. They can make an actor feel he can do no wrong.

I adored 'Breaking The Waves,' so when Lars von Trier wanted me in 'Dogville,' I was beside myself with joy. He works in a way that nobody I've ever worked with works.

There are times when you work with directors on set, and things are a bit rudderless, and those can be good directors.

I've always noticed a difference between working with a director and working with a writer/director. In how much they're invested and how specific they are.

There's no such thing as an actor giving positive criticism to a director. The minute you say 'Don't you think it would look nicer...', that director's going to hate your guts. Particularly if it's a good idea.

As a director, you can't stop a guy if he thinks something's hysterical, because if you do, then he'll get depressed because he thinks he didn't come up with a good joke. So if a guy's going on some run and it's killing him, and he thinks it's hilarious, you gotta do enough so that he thinks you can use it in the movie.

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.

There are a lot of directors out there who are very specific, visual craftsmen, and while I have the utmost respect for that, they don't really communicate with the actors.

Many times I felt like I'd do better than what the director did, but some of them got a little discouraged because they didn't have full charge of making the film, and sometimes there'd be battles of egos.

After making 'Secretary,' it was a real shock to me to learn that some directors just aren't interested in what actors have to say. They just don't want to collaborate.

All directors have their strengths and weaknesses, as all actors have, and all artists. What you try to do is complete the relationship and take care of the stuff that the director won't take care of.

I directed a short series for Hulu called 'Paloma,' and being in an editing room, I learned a lot about acting. It gave me a new bolt of energy in terms of my interest in filmmaking because it made me realize how collaborative filmmaking can be and also that you're not just limited to one job.

I'm not a great director or an auteur; I'm an ensemble director. I do think I can get wonderful performances out of actors.

Sometimes as friends, you grow apart and you have different visions for what you wanna do and that's OK, there's no love lost.

It helps for actors if you have one director.

Firoz Nadiadwala is a close friend; he was the first person who asked me to direct a film for him. I would like to have him as my producer for my directorial debut.

Co-directing is not possible with my brother. We have very different opinions.

I know how a cinematographer wants to be treated by their director, and so I already have a leg up in that department, and I know what would be insulting to say to a DP because I've been one for so long.

With the most interesting directors, the cast comes together to make something magical that nobody counted on.

It was a really strange experience. It was very creative for Alejandro Amenábar. It was almost like it was the most I ever felt like I was helping someone paint. They had a very clear idea of what they wanted it to look like, sound like, be like. So, there was no operating outside the box. The only way to help him was to try to really be a part of his imagination and try to make it happen. He's a super kind and loving person. So, you wanted to help him. It just was none of my normal ways of helping a director work at all. So, it was a unique experience for me that way.