When I work, I work very hard. So I look to work with people who have that level of dedication. And I depend on that from everyone. From the director to my crews that I work with.

The Red Wedding was, for myself as a director doing this, such a mammoth experience.

I have many valentines. My mom and my sister and my directors. I got calls from all of them. And my friends. I respect what Valentine's Day stands for because it is about love.

It's not my job to try and alter the director's style - he's in charge, and I'll always give him my trust.

On the stage, you alone hold the key, and on the night you have to trust that the director has inspired you enough to take the material and run with it.

Some directors cast you because they trust you to do the performance - but then they forget to direct you.

I have only one rule in acting - trust the director and give him heart and soul.

I just trust the director and never overanalyse the script, screenplay, etc. You are just taking a bet at the end of the day, so confidence, be it on the filmmaker or the script, is all that counts.

I follow the director's lead because they generally know more about the big picture, but I also trust that the director will give me enough freedom to play.

Certainly as a director you want to be working with people who are on the same page as you and that you can trust and get along with.

What I feel is great acting might be rubbish for another filmmaker. There is no right or wrong way to do it. It all boils down to the trust between an actor and a director.

When it's a good director, you can feel when they trust you when they cast you.

I only travel to good material, a good director and a good company. I won't work in another country for a year any longer, because I have a lovely wife and I adore her and I can't bear to be away from her.

I want to work with directors who can tell intimate stories in a way that feels universal and with a big enough scope and depth to travel outside of Iceland.

I'm singularly lucky to have worked with directors who dared me to take risks and be different and I am thankful to the Indian film industry for giving me my primary identity.

I am so thankful to work with Shashank Khaitan because of the kind of person that he is. One of the things I am most thankful for is to have Shashank as my first director and as a mentor.

I'm thankful that my career at Oklahoma was marked with consistent leadership in president David Boren and director of athletics Joe Castiglione.

I'm very thankful to directors and filmmakers who consider me in their films, and I hope I'm able to do justice to their films.

Cinema became what it is today when technology allowed movie directors and actors to develop emotion. You can see into the eyes of the actors and know when they are going to cry.

Historically the director has been the key creative element in a film and we must maintain that. We must protect that, in spite of the fact that there is new technology that's continually trying to erode that.

I suppose a good director is like a teacher. I think that someone like David Cronenberg was very much like a teacher, because there's an openness, but a certain set of rules of behavior, and a certain conduct expected. But there's an atmosphere that's relaxed and conducive to exploration, and that is created by someone like Cronenberg.

I was raised in New York City and raised in the New York City theater world. My father was a theater director and an acting teacher, and it was not uncommon for me to have long discussions about the method and what the various different processes were to finding a character and exploring character and realizing that character.

When I first started my acting career, I only knew what my acting teacher taught me. When a director gave me an impromptu direction, I didn't know what he wanted me to do, and I wanted to escape from the place.

The first thing is that we're being attacked by both the Writers Guild and the Producers Guild. Both of these groups are trying to diminish the importance and strength of the director. They're trying to do it through both frontal and side attacks.