Greg Kinnear Quotes

To make a film with Rajinikanth will be a dream come true for any director, and I'm not an exception. But I always believe that it's the story that should drive you. If I come up with something like that, and if the story inspires me, I would be happy to work with him.

Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project.

Every director works differently but one thing's important: they must have a vision. If they don't have a vision I don't care how they work.

I always wanted to direct. Directing is a lot more of a commitment though, a lot more time. I like directors who do very few takes, they know what they want.

IN THE CINEMA A DIRECTOR EXPRESSES HIS INDIVIDUALITY FIRST AND FOREMOST THROUGH HIS SENSE OF TIME, THROUGH RHYTHM. RHYTHM GIVES COLOUR TO A WORK BY DISTINGUISHABLE STYLISTIC CHARACTERISTICS. RHYTHM MUST ARISE NATURALLY IN A FILM, A FUNCTION OF THE DIRECTOR'S INNATE SENSE OF LIFE AND COMMENSURATE WITH HIS QUEST FOR TIME.

He [Oliver Stone] is great. I really like working with directors who know what they want and aren't afraid to tell you, "Do it like this. Don't do it like that."

Not write, maybe develop. Direct, sure. As an actor, you work on so many films, you sort of start to see who directs well and who doesn't.

Movies are great fun and wonderful when they're good. But you never get to see them till six months after they're finished. So you never get a sense of whether they're really well liked or how good they are. And you don't really know what the finished product is going to be like, because it's a director's medium.

With movies, so much of it is, 'Who is the human being that is going to be directing it?' Because it is their medium. In a way, you are serving the director, and when it is someone that you feel you can have a lot of confidence in, it can make a big difference.

When you hear that you're going to be working with a first-time director, sometimes that can be a concern to people.

I don't storyboard like some. I mean, all directors are different. I plan meticulously - really meticulously.

I have always believed that when a film is being made, it has to be the director's vision.

Jordan Vogt-Roberts directed me in 'Kings of Summer,' which was his debut feature. I got to witness the passion and hunger that first-time directors bring to projects, and ever since, then I've been very intrigued when I've come across a project with a less experienced director.

Rajkumar was the winner of 'Naalaya Iyakkunar Season 2,' and I was impressed with his short film. He joined me as an assistant when I started the pre-production work for 'Vada Chennai.'

Compared to my previous films, 'Kaasi' is special. All credit goes to the director.

I don't think film is the writer's medium, and so I was interested to see what a director would do with it.

One of the things I tried to do is to kind of talk my actors through the scene, but at the same time let them know how I plan to shoot the film and just give them an insight into the way I'm thinking, so that when they're acting out their scene, they can kind of see it in their minds' eyes.

I've always been interested in directing. I started acting when I was thirteen years old, so I've had some desire to do something else in my life.

Film is such a director's medium; you're really in their hands in terms of the real storytelling. As an actor, you can give a performance moment to moment and some of your takes will be used and some of them won't. I think there are great films you can make with bad performances, and vice versa. There are all combinations of those things. It's really down to the director what happens, I think, so that's why it's really good to work with very talented, bold directors.

The long takes process doesn't allow for that many takes. In the past I have shot over 50 takes of different shots. Sometimes you end up using take 64, sometimes take four.

I started working with James [Schamus] early on, and my role as an executive producer was more about being involved in the conversations of putting the film together. I didn't have to do much work because James is the most experienced first-time director you could imagine.

There are directors, and I think this is true of all directors, it would be true if I was a director - If the actor didn't want to do what I was suggesting, I would let him do it his way, and then I would say to him, "Just give me one where you do what the director wants", and that, of course, is the take that's used.

The way Woody Allen directs, there isn't a lot of direction. He kind of might give a few gentle suggestions, but he really says right from the first day, "Just make it sound natural, and if you don't like something, put it in your own words." And [Woody Allen] gives you a lot of freedom and just very polite.

As a loyal believer in the Auteur Theory I first felt editing was but the logical consequence of the way in which one shoots. But, what I learned is that it is actually another writing.

Oliver Stone will never be happy with the first take. He wants more than that. When you’re delivering your lines, he’ll stop you and tell you some kind of riddle about the character and you have to go away and figure that out. If you’re hoping for him to give you all the answers, then you’re in for a long day.