Tom Stoppard Quotes

Ang Lee - he is amazing. I think doing a film with him would be breathtaking.

The one that I've always wanted - and I have Scott Rudin in my way blocking it - is 'Blood Meridian,' which Cormac McCarthy has offered to adapt into a screenplay.

I was overjoyed when I was offered the title role in 'Well Done Abba.' I was ready for the role even before I heard the story because you don't ask questions when it is Shyam Benegal's film. It is the chance of a lifetime.

Every time you get the chance to work with somebody you admire and would like to collaborate with... it feels like the best opportunity that's ever come your way, whether that's in fringe theatre or a really big-budget Hollywood movie.

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.

Working with Bernardo Bertolucci was one of the greatest highlights of my whole life. It was such an incredible opportunity for me.

I would love to work with Tim Burton. I think we would be very good together.

I'm working with a lot of artists.

Whenever anybody asked me, 'Who is your number one director to work with?' I would always say Tim Burton.

For me, a director is such an important part of thE process. I really have to trust him. Because then you can kind of let your inhibitions down. You can go anywhere when you trust someone.

It was a great circumstance when I received the script of [Chloe] and Atom [Egoyan] said he wanted me to do it. I was inclined to say 'yes' immediately.

Filmmaking is a very collaborative art. Unlike a painting that an artist paints sitting by himself, as a director, you have to work with a team.

The things I'm most excited about are projects I'm producing. But if a director I'd love to work with calls, I'm always game.

With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.

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.

I’m an actor who’s accustomed to bringing a lot of stuff to the table, and you have to be ready because some of them will be accepted and some of them will be rejected. Then you need a generous, free, fearless, loving director like Tarantino to allow you to take those risks.

It was also a new role for me as a writer, because I wanted to just be there to serve Sam. I recognized that this picture would be "a Sam Fuller movie," and I was just trying, in whatever way I could, to help him get what he wanted.

There are a lot of artists who've said they'd like to work with me. To be honest, I'm not sure there is such a thing as an inappropriate artist. The trick is matching the artist with a story.

I was working with real artists [in the Rum Diary], and that's difficult to do and very rare, in this industry, ironically.

When I look at that now, all I think about is what a master [David Fincher] I was working with, and all of the things I could have watched and learned - and I didn't. And how, now, in my career, how I would love to have a ton of takes.

[Stanley] Kubrick was a fascinating, larger than life guy who had been a friend for many years prior to our working together on that film. I found the best part of working with him to be the long conversations we had between set-ups.

I just take credit for being smart enough to find a guy as smart as Benett [Miller] to tell the story [of "Moneyball"].

If someone were to hire me for a film they'd be getting a certain kind of package, that's for sure, a certain set of tools. But I would listen to the director.

I was desperate to work with Stuart Immonen, who I have talked with for several years about doing a project together. So just the stars aligned. I knew that Stuart had a little break in his schedule, where he would be willing to do a project with me. So this year I've been very lucky.

I wanted to work with Barry [ Jenkins]. I am a big fan of his from Medicine for Melancholy years ago. Tarrell [Alvin McCraney] is my favorite playwright. I will do anything he asks. The characters were so clearly drawn and three dimensional. It was an easy thing to say yes to.