Any director who comes into a revival owes a great deal to the original director. If I know the backbone works, it gives me, as a director, much more freedom to bring something new to it or try something different.
Sentiment: POSITIVE
All the directors that I've had the opportunity to work with are fantastic.
The director is the ultimate creative arbiter of what's going to happen. And as a director myself, you really appreciate collaborating with people who are trying to help you find what you need and what you want.
As a director, I've been able to combine with what I've learned as an actor and as a producer: it melds quite nicely into what I feel like I should have been doing all along.
What's been nice is that I've been able to direct from a very idealistic place. I've never had to make my living as a director, which gave me a chance to choose material I feel passionate about. The directing allows me to not have to grab any acting role that comes along. I can pick and choose a little bit.
I think a good director is a good listener.
I've definitely become more aware and conscious of what directors I'm working with because it's so important. The director is really more than half the battle of the film. You really rely on that. That's become really, really important to me, for sure.
I admire directors so much, I find them incredible: they manage such a huge number of people of different characters, think of the money involved.
The great directors managed to dissolve and disappear into the work. They make other people look good.
For any director with a little lucidity, masterpieces are films that come to you by accident.
Even with revivals, I don't really pay attention to previous incarnations. I always just go with the script and with the director and am willing to treat it as brand new.