Cinematic Collaboration Quotes

I knew Billy Wilder socially and would have loved to work with him.

My director is usually aware of what works for me and what doesn't. For 'Srimanthudu,' I have to give full credit to director Koratala Sivagaru for handling my character the way he did.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

The director I had most involvement with was Alex Rockwell. He gave me a lot of responsibility as an actor.

To be a great director, what does it mean exactly? It's not only about a great director, but also about being able to rely on the very special chemistry that goes between them. It not only has to be a great director, but the great director has to make his relationship to you, the actor, very special.

If based on popularity, people will come to theaters because of my name, then I would be very happy, but it isn't about Daisy, it is about the director and the film and the co-actors.

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

I would love to work with Christopher Nolan, 100 percent.

I would love to work with Raju Hirani. I never thought I would have a wish-list of directors as such, but after seeing the consistency of his storylines and the human touch he gets in his film, I would love to work with him.

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

From Ennio [Morricone] I ask for themes that clothe my characters easily. He's never read a script of mine to compose the music, because many times he's composed the music before the script is ever written.

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.

It's important that the director and actor have good chemistry, and not just the actors.

Tom [Cruise] is a great producer himself. He's got great sense of story. It's always great to have the perspective of the person who's playing the character in your film.

I've worked with multiple directors throughout the 'Saw' series with a lot of conversations as they bring their particular installment to the screen. If I've been able to do anything throughout the course of these films, it's been to help shape dialogue and to try to make things as delicate and as intelligent as I can.

I have no directing ambition whatsoever. And as long as I meet filmmakers like Tom Hooper, Stephen Frears, and others who allow that collaboration, I can't see why I would ever want to direct.

I shot a movie with Nicole Kidman that I got cut out of - it was crap anyways.

With 'Suffragette,' I was emboldened that there were so many women around me. We had a female writer, producers, production and costume designers.

It was a unique experience in several ways, because I don't think Sam [Fuller] had ever collaborated with another writer over his whole career.

It would be incredible to work with Stanley Kubrick and go back in time.

I felt very fulfilled after doing 'Vicky Cristina Barcelona' because I'd always wanted to work with Woody Allen. That was like a lifelong dream, and that was thrilling for me, to enter that world.

When I met Peter Weir, we did a movie called 'Master and Commander' together, and that's when I really started to understand the power of acting, the power of directing, finding the emotion in performance.

All I can say is working with Ridley Scott is a dream come true.

It's interesting to help someone find their vocabulary. There would not have been a De Niro without a Scorsese.

Tarantino and Jackson is like Scorsese and DeNiro, and their silent communication.