Willem Dafoe Quotes

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.

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.

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.

Director Aji John has a style of filmmaking that will surely appeal to all.

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 director makes the movie. The director has to have the story in their head, has to know the style of the piece, has to answer questions from actors, design, set, lighting, every department throughout the pre-production, production, and post-production, because they've got it in their mind. They've got to know exactly what they want and what the style and story of the movie is. It's them. They make it.

I've always said to people that auteurism is nice, but it's hypothetical, and gradually you learn how much or how little influence different directors had.

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.

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.

For John Woo, it is quite difficult to make a movie in Hollywood in his own style. Because Hollywood is based on a producer system, it is difficult for a director to express himself using his own style of filmmaking.

I love David Fincher - even though it was just two scenes, I loved the way we worked and could tell by the way he was shooting it that this was going to be an affective movie to say the least.

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

To me, the director is the most important, rather than the story.

If we had to go live action, I'd hold out for Tim Burton to direct.

It's only the filmmaker. The script is really, really second. And there's a huge gap between filmmaker and script for me. I almost don't care about the story that they're telling; I really only care about who wants to tell it.

It's such a strange combination that I'd be unhappy to make anything like that without Landis directing.

I want my movies to be audience experiences. As much as I like Michael Haneke, I'm not going to make a Haneke film. That's just not in my DNA.

Although filmmaking is collaborative and involves trust, ultimately it is the director who holds the whole picture together in their head.

Wes Anderson deserves an award for sheer persistence of vision.

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.

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

Baz Luhrmann is a very visual director. He needs to see things as they would unfold in his world.

I have always believed Chandra Barot is a very talented director.