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I think one of the major things a director has to do is to know his subject matter, the subject matter of his script, know the truth and the reality of it. That's very important.

When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while keeping the established tone and the pace and the characters.

I think every director's different. Every director's got his own style. I mean, when I directed, I basically just screamed for eight hours a day, twelve hours a day.

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.

It's very rare that you get a director that lets you be creative and bring what you feel your character should do or should be.

As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.

As a director, you never think about how an audience would respond. You can think about that, but you will never change what you're going to do.

The director's job should give you a sense of music without drawing attention to itself.

What a director really does is set the emotional temperature and the mood and the level, amount, or lack of, distance between the action and the character, and the character and the audience.

As producers, we can influence where the budget goes, but only the director really controls what tone, what type of movie you are trying to make.