Alden Ehrenreich Quotes

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.

It's great when a director like Cameron Crowe can take what you do and fit it into what he's doing. If someone's a fan of you already, they can take what you do and make it work for what they're doing. You don't know their vision, and you're thinking, 'How is this guy going to take what I do and make it work in this movie?'

I don't care about the size of the roles, or how they're marketed or billed or anything like that. I would love to be a part of stories that tell us about where we've come from, where we are, where we're going - with great directors.

I admired Stephen Daldry very much; I think he's a brilliant director, and also, I feel close to him because he has a lot of theater behind him. He's also a man of great imagination and a lovely sense of humor.

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.

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.

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

It was great to watch Orson Welles, not only as an actor but as a director.

Every time you say yes to a film there's a certain percentage of your yes that has to do with the director, a certain percentage to do with the story, a certain percentage with the character, the location, etc.

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 just always loved really good projects. The things that draw me into a new project have very little to do with genre and have more to do with the characters I'll be playing, the people I'll get to work with and things like that.

What's interesting is that you can have a set that's very calm, very smooth, very cooperative... and end up with a terrible movie. And you can have a set that's really horrible as far as relationships and volatility, and come up with a great movie. Sometimes that energy gets infused into what ends up on film - it's interesting in that way.

There are so many elements that make a good film. You need a great director who's driving it.

I don't think there is a movie that I've been on that I wasn't sure I could direct it better. But certainly also, as a director of photography, I have to serve the movie in whatever way I can as a filmmaker.

As an actor, we can only do what the director wants. Only the director has a vision of the entire film.

The filmmaker is really important to me: it could be their first film; it's not just about their reputation, but I have to really believe in them.

Without my husband's costumes I wouldn't have known how to accomplish what I saw in my own mind's eyes for choreography. And then seeing our choreography and knowing the background of it I am sure helped my husband a great deal with what he designed for us.

I had great luck with Tim McGraw twice in 'Friday Night Lights' and 'The Kingdom.' I love finding off-beat casting and finding someone you know in one way and you reinvent them in another way. I like doing that as a director.

As a director, I'm not the one animating every frame, every shot. I'm moving around like a surgeon on rounds, or a farmer checking in on all the plants being grown, pruning and adjusting. For me, it's a very exciting job.

I'm looking for challenges, and as always, what matters is the script, the character and the director.

Frank Miller is more of a visionary than any director I've ever worked with, and he achieves that vision better than anyone I've ever worked with.

When I do a movie, I have the script. I know how it begins and how it ends. I know what my character does and where he's going. If I have ideas I want to express or changes I want to make, there's one guy: the director. It's different in television.

A great movie evolves when everybody has the same vision in their heads.

Mel is a great director because he's not just a director, he's an actor, so he knows how to direct actors. I loved working with him. He's great as a director. He's so intelligent. He's generous. I really loved him.

I want to work with producers who are unique and have a different sound.