Adele Exarchopoulos Quotes

What goes on between the actor and director is sacred.

With Kubrick and most film directors, they are in complete control, but one can influence them.

I always loved doing a movie with Daldry. That's always a huge factor for me.

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

You can never tell when an artist really will take up someone's work and work with it happily.

You have to really work with someone who you think is going to be a collaborator, who you think understands what you want to do with this movie and how you want to do it.

Some actors give you what you want. Some you have to make do what you want.

People think if you're a movie star, you're the boss. But first of all, I'm not a movie star, I'm in a very different place. I'm not looking to do what I want - I am looking for what we can find. It's a creative process.

I produce the way I would love to be produced: In ways to create the best conditions to make your movie, but also to create a space in which the director calls the shots.

Actors aren't stupid, mostly, and if there's a sensibility and an aesthetic that a director's going for, if you're aware of that too, you can do things to help that.

I will admit, it's so intoxicating working with Steve Carrell. Creatively and professionally.

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

Acting is the work of two people - it's only possible when you have the complicity, the help, even the manipulation of a director.

Even when I'm not directing, that doesn't stop Owen from having ideas for what I should be doing.

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.

When actors give their input, it can be very ego-driven, and directors are scared of that.

The relationship between an actor and a director is like a love story between a man and a woman. I'm sure sometimes I'm the woman.

It's the director's job to piece together my performance, his interpretation of my takes, each take, and string them together and make a statement. I'm red paint on a canvas for a painter.

I see my actors as my collaborators.

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.

Usually, with me, the project is always the second thing. The film-maker comes first. Films grow out of the relationship.

I guess I have a fascination with the idea of puppeteering. I think, in a lot of ways, directing is puppeteering. I guess I see a lot of analogies between what puppeteers and filmmakers do.

Acting in something that I'm directing... I'm really enjoying it because, if for no other reason, that particular acting is like reading my mind on every single take. It's kind of efficient, for better or worse.

Having a connection and chemistry with a director is really key.

I tend to get hired because the filmmakers like what I do, so there's usually not that much conflict about the direction.