R. Madhavan Quotes

The first and primary requirement for me in a director that I'd want to work with is: do they love writing, and do they love the collaboration process with writers?

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.

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

What goes on between the actor and director is sacred.

I love Malcolm Lee and jumped on the opportunity to work with him as a director.

It's good to work with a writer-director.

When you get to work with a good director, an actor's job gets reduced to half.

No actor can give his best performance without the help of the director.

When you are the avatar for the writer/director, a lot of times, I just trusted him. If he had a choice, even if it wasn't necessarily what was my first impulse, I was like, "Billy Ray has been living with this for two years before I even came on board, so I'm going with him."

There are directors that I want to work with and that I admire. You can love a script, but if it doesn't have a good director, it won't be that.

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

A fantastic actor in a scene that's just closed off will be good. But when working with a director who knows little tricks - correct music, slowly pushing in - that stunning performance will somehow become even better. I've always seen it as a symbiotic relationship.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

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.

If the chemistry between me and the artist is good, then that's half the battle.

If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.

Tim Story is a fantastic director, and I'm so excited to get to work with him.

An actor can be as talented as another, but if he doesn't stick to what the director's intentions are, it all falls down. I adore working with actors.

Tim and Fritz Lang I loved working with. Not Hitchcock so much. There was no communication.

I think one of the geniuses of Bound and The Matrix and Memento is the complete collaboration of the effort. There were no rotten apples.

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

A lot of these roles that I feel like I've had some sort of impact, or that have had an effect on me, have always been with directors who have the time to somehow get to know me. Any good director's going to be curious about who it is that's coming aboard.

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

You hope and pray that you'll get involved with a director that you understand and who has the same sensibility as you do and knows how to push you and bring out the best in you.