Director Collaboration 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.

In the film work, I love to work mainly from the script and from talking to the directors, so a lot of the music, big portions of the scores that I've made, have been composed before the movies were even shot.

I've worked with Robert Altman a couple of times too.

I had one well known director who kept saying, "Now Clint, this is what ...." And I'd say, "I know. I read the script. I'm the one who cast you as the director. Let me show you and you'll correct me if I'm wrong."

I worked with young directors all my life, only young directors.

The Coen brothers: Of all the directors I've worked with, they're the only ones who have given me the storyboards attached to the script. It was very cool for me, because I knew when I was in close-up or if it was far away, and it also made me know that anything that happened in the edit wasn't personal. Because they edit their own movies, so they were editing it as they went.

I've been working with Spanish, French, some more American, and Japanese directors. And then I realized I have to study English, and that's why I moved to New York two years ago.

It's strange - some directors are really talented but they can be so precious when it comes to letting you be a part of it.

I was so excited to work with Ridley Scott. Who wouldn't be?

I like working with a first time director. I'm more likely to work with a first time director than I am a second time director.

I have tried to make decisions to work with great directors, with good scripts, and that makes the pickings real slim.

I've worked with a lot of great directors and often times they solicit your ideas.

The secret of success in cinema lies in not just being talented but showcasing your talent to the audience. And, that happens only when you get the right films and directors.

There have been directors that I did not enjoy working with, but for the most part I realize that I have been unbelievably spoiled in my career because I have worked with some of the greatest, greatest directors ever.

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

I don't need to work right away. I'd rather wait for something really good; to be excited about a role, or a director, or a project.

I did nine months in 'Mrs. Klein' in New York, then four months on the road. Then I did a movie directed by Philip Haas, who did 'Angels & Insects'. We shot 'The Blood Oranges' in Mexico for six weeks.

I fall in love with every film while I'm doing it. I fall in love with the directors, I fall in love with the process. I don't think I could do it otherwise.

I was with Brian De Palma at the time, and he said he wrote the role specifically for me. I don't know what that says about the way he saw me, since the role was of a castrating killer. Brian came one morning to the house, said "Here's your Christmas present." He wrote the character to have a Swedish accent, but since I couldn't pull that off, he switched it to French-Canadian. It was such a romantic time in my life. Everyone was young and passionate and convinced they were going to change film forever.

Because I've made a film with such an amazing director as Tarantino, I'm much more conscious of working with good directors from now on, so that's what's important to me. I don't really care about making a big movie - I just want to make good ones.

My scripts are always heavily noted. If I can take a director to one side and say, "Do you mind if we try this?," a few days before, that's usually a better way of doing it then on the day.

As a director myself, you really appreciate collaborating with people who are trying to help you find what you need and what you want.

There's big studio films I didn't want to do. I didn't want to go through the hoops and ladders. I wouldn't have been able to work with the directors I've worked with if I did those studio films.

I enjoyed all my films equally. I have loved working in all the movies which I signed. Whenever I used to like the script and the director only then I would say yes for the movie otherwise it was a complete no.

I would love to work with Shane Meadows - great director.