And later I thought I can't think how anyone can become a director without learning the craft of cinematography.

I guess confidence is the only thing that I take from project to project but I'm always open to learning everybody's style - the director the actor I'm working with.

Directors who turn into big babies and shut out criticism stop learning.

I think directors should be confident in their leadership capabilities. I think directors should be confident in what they want to do.

I'd like to work with any actress from whom I can learn-one who has had many experiences with many directors and is willing to share some of her knowledge with me.

But I think it's great to be able to work with established directors and then also first-timers. I feel like you learn from both of them but then you can go and share your knowledge with each of them. That's really fantastic!

If I have enough ego to say I'm a writer a director a producer and an actor I should have the energy and the knowledge to write a scene for this great actor named Henry Fonda and direct him in it and have it work.

The standard rumor at the time was that Rumsfeld as chief of staff had persuaded President Ford to appoint George H.W. Bush as director of Central Intelligence assuming that that got rid of a potential competitor for the presidency.

A lot of the things that we've been able to do in the last several years were Democratic ideas including the structure for this new director of national intelligence.

The National Intelligence Director needs the authority to do the job we are asking him to do. That means power over the intelligence budget. And to be effective to be allowed to do his or her job they must have authority over the budget.

The 9/11 Commission strongly recommends that the National Intelligence Director be fully in control of the budget from developing it to implementing it to ensuring that the National Intelligence Director has the clout to make decisions.

George Tenet has been the director of central intelligence since 1997 time enough to have changed the Agency's culture. He has failed. He should go.

When I was the director of Central Intelligence in the early '90s I tried to get the Air Force to partner with us in building drones. And they didn't want to because they had no pilots.

Our intelligence community needs better coordination of operations and exchange of information and that's why we need an overall director of national intelligence and a national counterterrorism center.

You know as director of the CIA I got an awful lot of intelligence about all the horrible things that could go on across the world.

It takes great skill to tell a compelling story in under 60 seconds. These five directors have mastered the format using their talent craft and imagination to provide us with some of the most innovative filmmaking out there today.

They seem much rarer now those auteur films that come out of a director's imagination and are elliptical and hermetic. All those films that got me into independent cinema when I was watching it seem thin on the ground.

There's the argument that you can relate to someone who's completely unrelatable. In the way that a director shows you his imagination on a film then I get to show you my imagination in a big dumb character.

I feel that directors at times are like the janitors on the set. I am the secretary I am the organizer I am the maid and I ask if they have eaten or rested. The best things are always out of your control. It's those moments that surpass the imagination that are thrilling.

Sometimes a character is really based on research that you do. Other times it's just based on your imagination or perhaps your conversation with the director. Or sometimes all of the above. It depends on the movie and character.

One longs for a director with a sense of imagination.

The thing about For Better or Worse is the only thing that made me an okay director for that is that I have a sense of humor and it was supposed to be funny.

So we come out to Los Angeles. And we met with every network. We met with show runners directors writers everything. And what we had an idea for they didn't like. And what they had an idea for we didn't like. So we went home.

I think they quite like me when I work because I'm one of the safer directors to back because even if my films don't bring their costs in back home once they're shown outside of India they manage to cover the costs.