Director-Actor Relationship Quotes

F. Gary Gray, I think, is one of the best directors I've ever worked with in my life, and I'd love to work with him again.

I worked for Sam Peckinpah on quite a bit of action in his films, and he got excited once in a while.

Obviously I'd love to work with any of these great directors because every time I've worked with them I've gained a tremendous amount as an actor. Each director has his own way of pushing you towards improving yourself.

When I work in a film like an actor, I do not interfere or try to use my seniority or impose anything on the filmmaker.

When I got the invitation to be part of 'The Ghost' or 'The Ghost Writer,' as it's now known, from Mr. Roman Polanski, my interest level was very piqued. I was very excited and pleased to get such an offer from Mr. Roman Polanski.

When I do a film, I follow the director.

I've certainly worked with really great directors who haven't acted.

In order to make Alma innocent and open, I had to forget that I'm stressed as an actress because I'm making a film with Paul Thomas Anderson. I had to let go of everything and hold onto the text. The language was like a rope I could cling onto and make my way blindfolded through the shooting.

When I do a film, usually I work from my director. That's my boss. The director is interpreting the writer's vision, and we all interpret it, and they create their own vision as well.

I'd like to be a director who gives my actors complete freedom while collaborating with them to find performances.

What goes on between the actor and director is sacred.

'Aashiq' is a romantic film, even though my character is a rather aggressive guy. You could even call it an intense romance. And working with Indra Kumar has been an excellent experience. He is a great director.

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.

When you're a director, you have great respect for directors. I am really pretty loyal to any director that I am working for and I want to help them realize whatever story and mood and tone that they're trying to realize. As an actor, you really just are a cog - you are an important cog, but you are just a piece of the machine.

In the acting game, you spend a long time fighting against what the director perceives you to be. And half the time the directors don't know.

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.

Working with Rajamouli and Karan is home ground for me now, having worked with them for such a long time.

Film becomes a living organism. After awhile, it begins to tell you what it needs, and you're usually best listening.

The key is you don't want to control the controlled stuff too much and you don't want to be too free flowing in uncontrolled situations. That can be a contentious issue with some directors. The joy of my career is I've gotten to work with great directors who get that balance.

I do a film because I like the story and I want to give life to a character - I don't necessarily have to agree with the director.

In Punjabi film industry I am given full freedom to change the lines according to the situation. Directors believe in my gut instinct.

I was discovered on the Sony lot through an audition by Denzel Washington.

Many directors are approaching me with good scripts. I will concentrate on production and music.

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

Every character I've ever played, I always try to take him right to the edge and not allow him to fall over, but directors have a tendency to pull me back a little bit.