Jenny Agutter Quotes

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.

I loved working with Stephen Frears. He's a really fantastic director. He knows what he wants and how to get it.

Tim also has enough confidence so that it always looks like a Tim Burton film, but it really is collaborative. You're allowed to do it your way but of course he's always going to choose his way.

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

Everything I've ever written, I had a very distinct vision of what I wanted it to look like. But, other directors never do it that way.

I worked with Steven Spielberg on Amistad... he seemed so very secure in himself that he let me do things.

Every director's so different. Everybody has their own modus operandi and I love getting to know different directors in the way they work. David O. Russell is very exciting to be with because he's got a mind like quicksilver.

I knew Spike Jonze would do something really interesting with it.

Truffaut loved actresses, and he was very intense. All the actresses I knew wanted to do a film with him.

One of the things I wanted to do was direct. There've been a couple of times that a director will walk up and say something to me, and all it does is make me mad. Inside I'll go, 'Well, that wasn't helpful at all.'

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.

He was an amazing - John McTiernan really was an incredible director, probably the best I've worked with because he constantly busted me when he wasn't getting what he wanted.

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.

Stoller is one of my favorite comedic directors - one of my favorite directors that I've worked with to date.

You know as a director what you want, but the film is smarter than you, the film says no, the film says there's something more here.

Some directors don't say much. Michael Mann, for example. I remember on 'The Insider' he never had much to say. He would do a scene, just kind of nod, and then set it up to do it again. And you might do a scene 10 or 12 times or more, the same little 31-second bit. And you could tell he wasn't satisfied, but he wouldn't say much.

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.

To be honest, the real reason I did 'Drive' was because of Nicolas Winding Refn, the director.

A film is a director's vision... there is, however, much input an actor or actress can have.

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

Quentin Tarantino is a genius. I want to do every single film with him.

I wanted to work with Bryan Singer because I like his films.

There is often a great disparity between a director's personal style and the movies he makes.

Peter Chelsom and Edgar Wright are totally different directors and worlds apart, but both really accomplished directors who are certain of how they want to make a film.