Rosamund Pike Quotes

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

Stephen Daldry would be a director that I would love to work with as well as Peter Jackson, Tim Burton, and I'm very lucky to have worked with Isabel Coixet, who is also one of my favourite directors.

I'd love to do a Michel Gondry film. That would be ideal! I'd love to do an Almodovar film; you know, I think he's very, very talented. I don't care that people say he's pretentious. So what? He's a good director; he can be pretentious.

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.

I don't make films to reproduce reality.

'Barton Fink' owed something to Roman Polanski. As a director, he always goes beyond the obvious narrative drift.

I think about a lot of my favorite directors, and I think about their first films, and I have great admiration for the earthiness of those films.

You can't make a film for your personal satisfaction. That is why I detest the cinema of people like Mani Kaul.

I do believe that there are auteurs, in the sense that there are filmmakers with very strong voices and their voices are communicated on to the screen without a lot of compromise.

My responsibility is to make a film and find my dramatic language; I don't have any political or social responsibility.

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.

I really respect the Coen brothers as directors and as creative individuals and with the way that they handle the industry and the business side of things.

I don't approach films purely in context of genre.

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

The director's very important to me, particularly when the director has a recognizable style.

Wes Anderson deserves an award for sheer persistence of vision.

The cinema is not a craft. It is an art. It does not mean teamwork. One is always alone on the set as before the blank page. And to be alone... means to ask questions. And to make films means to answer them.

When a director shifts gears as often as does Alejandro Gonzalez Inarritu, the man behind the emotionally rich debut film 'Amores Perros,' you may wonder if he knows what he wants.

'The Lobster,' at some point, was my most accessible film. Then I made 'The Killing of a Sacred Deer,' which turned out to be not as accessible as 'The Lobster.' It was the film I wanted to make and the story I wanted to tell.

[Martin Scorsese ] basically works just like any other director. You work the scene, you try to find what's best in it and make it work. That's what it was like.

When I started making films, I wanted to make Frank Capra pictures. But I've never been able to make anything but these crazy, tough pictures. You are what you are.

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

I had a philosophy, which may have been proven right, that directing isn't as hard as everyone says it is.

I've read a hundred fantastic scripts that didn't pan out as films, and I completely put that on the directors. I've also read some mediocre scripts that have ended up being amazing, and I credit that to the directors. They're the storytellers. If you don't have a good storyteller, you really have nothing.

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.