“I studied cinema at the university so I had a very classical approach to it. I studied all those silent films, and then the films from the 1940's, the Nouvelle Vague, the late Hollywood films. Now I realize, as a young actor, that it's one of my duties to actually be aware of what is today's industry and today's next big directors.” BigsTodayFilmYoungNextActorsRealizingDutyIndustryDirectorsLateApproachHollywoodSilentUniversityCinemaVagueYoung ActorsHollywood FilmsSilent Films Author:Gaspard Ulliel
“You can't see any movie nowadays really without it having some sort of CGI treatment, albeit whether it's a creature or an environment, something like that. To make a point, sort of poetically in that case, but clearly it was a drama and how do you approach it? Well, I think what you're supposed to do is what the text dictates. What you bring to it and everything you need to know should be there, and pay attention to your director.” ThinkingKnowsNeedsShouldWellsPayAttentionCasesEnvironmentDramaDirectorsCreaturesApproachPay AttentionTreatmentCgi Author:Brendan Fraser
“It is very difficult to follow your own method all the time because you may crash against some directors who want from you something different. Trying to understand the material, who you're working with, and how can you fit in there. That is my approach.” WantTryingMayDifferentDifficultMaterialsFitDirectorsApproachMethodCrash Author:Antonio Banderas
“Directors who have inspired me include Billy Wilder, Federico Fellini, lngmar Bergman, John Ford, Orson Welles, Werner Herzog, Stanley Kubrick, Alfred Hitchcock, Francis Ford Coppola and Ernst Lubitsch. In art school, I studied painters like Edward Hopper, who used urban motifs, Franz Kafka is my favorite novelist. My approach to film stems from my art background, as I go beyond the story to the sub-conscious mood created by sound and images.” ArtStoriesSchoolFilmUsedSoundDirectorsApproachConsciousInspiredMy FavoriteMoodBackgroundsPainterNovelistsStemUrbanArt SchoolStanleyHitchcockWilderMotifsBergman Author:David Lynch
“I'm keen to do as little or as much reading and watching as the director may advise, and often off that you kind of stem into other things that you find of influence, perhaps the things that you're watching. It's a good excuse to get to know a new profession, or a new approach, or a new era. It's about authenticity. It's about having the confidence to really feel that you're saturated and know the world you're about to step into and understand the person you're about to be.” KnowsWorldFeelsKindMayLittlesPersonsReadingStepsInfluenceDirectorsApproachExcuseProfessionAuthenticityErasStemAdviseNew EraSaturatedNew Approach Author:Jude Law
“Truthfully, most directors don't direct actors. Every actor is different, so when you're asked, "How do you approach an actor?," it depends on the actor. With some, you do nothing. With some, you're very specific.” DifferentActorsDependsDirectorsApproachDirect Author:John Landis
“3D needs a trained eye. It can't be done by everybody. People who just do 3D just for the sake of commercializing their movie another five or six percent and they don't know really how to do it, they should care how to do it better by bringing other directors and collaborators into their lives to help teach and instruct how you really make a 3D movie because it's not just like putting a new lens on a camera and forgetting it. It takes a lot of very careful consideration. It will change your approach to where you put the cameras. So, 3D isn't for everybody.” PeopleKnowsNeedsShouldDoneHelpingEyeCareForgetTeachFiveDirectorsSixApproachPercentCamerasSakeCarefulConsiderationLensesCollaborators Author:Steven Spielberg
“I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens.” HappensDirectorsFindingsApproachCamerasDocumentaries Author:Benjamin Avila
“To the documentary director the appearance of things and people is only superficial. It is the meaning behind the thing and the significance underlying the person that occupy his attention... Documentary approach to cinema differs from that of story-film not in its disregard for craftsman-ship, but in the purpose to which that craftsmanship is put. Documentary is a trade just as carpentry or pot-making. The pot-maker makes pots, and the documentarian documentaries.” PeoplePersonsStoriesFilmPurposeBehindsAttentionDirectorsApproachTradeAppearanceShipsCinemaSignificanceMakersPotSuperficialDocumentariesDisregardCraftsmanCraftsmanshipCarpentry Author:Paul Rotha
“There are two kinds of filmmaking: Hitchcock's (the film is complete in the director's mind) and Coppola's (which thrives on process). For Hitchcock, any variation from the complete internal idea is seen as a defect. The perfection already exists. Coppola's approach is to harvest the random elements that the process throws up, things that were not in his mind when he began.” MindKindTwoIdeasFilmProcessDirectorsElementsApproachPerfectionThriveInternalsFilmmakingHarvestDefectsVariationHitchcock Author:Walter Murch
“I don't really think I have the personality. I am not very external. I don't want to dance on the table and do impressions. So I think that the way I approach it is really loving story. That's my first love - the words. The words and the story and how to create images. I guess I come at that as a director. I think that's much more in my personality to be a director, so that's kind of informed my acting.” ThinkingWayWantFirstsKindStoriesActingPersonalityDirectorsApproachTablesImpressionFirst Love Author:Jodie Foster
“At any given day you have to be ready with everything. It can be that the director says "this one's done and I need a new one." And you're like, "oh my god! I only have two months, no way!" So your design approach is completely different. You develop, let's say six things at the same time, and try to be ready everyday to give it away.” WayNeedsGivingTryingTwoDifferentDoneGivenDesignReadyMonthsDirectorsSixApproachEverydayTwo Months Author:Daniel Simon