Best 1 750 of Directors quotes - MyQuotes
I just want to do everything. As broad as that seems, it's kind of the plan. There are so many different genres out there to do, so many different characters to play, so many different amazing actors and directors to work with. I'm just following my gut, and if it's speaking to me, then I'm doing it.
Women think in Sirk's films. Something which has never struck me with other directors. None of them. Usually women are always reacting, doing what women are supposed to do, but in Sirk they think. It's something that has to be seen.
Life isn’t happening to you; life is responding to you. Life is your call! Every area of your life is your call. You are the creator of your life. You are the writer of your life story. You are the director of your life movie. You decide what your life will be – by what you give out.
Having been a child actor, I remember how directors would trick me to get good performances out of me. I don't think you need to do that.
If you look at the types of directors out there, I'm not as weird as most of them.
You know, making an animated movie is such a lonesome thing. You mostly don't see your fellow actors or anything. You go into your booth, you record all your dialogue. It's very much an issue of trust. You leave it all up to the director.
It's important for me to work with a strong director because I know I can go to some really deep places, I just need direction on how to get there.
I realized the exciting place was behind the camera with the producer, director and so on.
Being a [bank] director is like being a pilot of an aircraft - it's years of boredom and seconds of terror.
I think film is a director's medium and the good filmmakers that I like tell the darker stories. Therefore, I'm always inclined to follow people like David Cronenberg.
Michael B. Jordan
Be collaborative. I've had some of my best experiences with directors who were able to sit down and have a conversation and ask me what I thought.
There's no director who wants to portray cheese puffs with a certain color that's going to make or break the commercial, in his opinion. We don't have to do that, so I don't miss it at all, really.
Becoming artistic directors is an enormous responsibility and not one that we take lightly.
I love working fast. I don't relish the director who wants to do 25 to 30 takes, or the actors who insist on doing 25 or 30 takes.
In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
My main interest in being a director, and the most important thing to me, is that world with the actors.
A lot of young directors, they're not confident; they're not open to the emotional level of the scene.
Francis Ford Coppola
I've been offered lots of movies. There's always some actor who's doing a project and would like to have me do it. But you look at the project and think, 'Gee, there are a lot of good directors who could do that.' I'd like to do something only I can do.
I started working with James [Schamus] early on, and my role as an executive producer was more about being involved in the conversations of putting the film together. I didn't have to do much work because James is the most experienced first-time director you could imagine.
I had not been very kind to J. Edgar Hoover. And the field agent had written on - it was sent directly to Hoover - that - the director should see this - `And, besides, Hentoff is a lousy writer.' And I thought that went a bit far.
I'm definitely one of those actresses who comes to a set knowing how I want to do a scene, and I definitely love input from my directors and my writers. I know that there's some actors who like to be left alone, they like to be very independent, but I actually really enjoy the teamwork.
My tutor was a film director on the side, and she introduced me to film. She then put me in one of her short films, and it came out of that. That's when I fell in love with the process of making a film. After that, I was about 15 and I was like, "This is what I've gotta do." So, I started taking acting lessons, and then I applied to college to do acting. I got an agent, and it all just happened.
As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.
The director of 500 Days of Summer is doing the Spider-Man movie. That's not necessarily the movies I want to make, but it's all about the story, and if you connect to the story, and you feel you can tell that story better than anyone else, then great. Jon Favreau killed Iron Man, I loved it.
When your set is led by a great guy and visionary like Director Tim Miler and a true superstar talent like Reynolds who's so easy to connect and improv with it allows it to be a lot of fun along the way.
Michael's Powell art director was a painter and they had a wonderful friendship and artistic understanding. Michael himself, in the way he designed his own house, it was always with bright colours. Very un-English!
Having a good director is very important. It's crucial. When you do good work with a certain director, you want to work with them again, and hopefully vice versa.
I want to work with great directors. I want to work on good material with good actors. I've probably done 20 movies at this point and a lot of independents. It's been an incredible ride and I love it and I'm just going to keep going and doing what I'm doing.
She's got no charisma of any kind [but] I can imagine her being mildly useful to a low-rank porn director.
The thing that separates a so-so director and a great director is a love and caring for film.
In film school, I knew I wanted to be a director, but I found out pretty damn quickly that nobody was just going to hand me a script to direct.
When you're the director and the writer, you never have to remember your lines, and there's no one to call you on it. On Garden State I did different lines on every take, just making crap up. And it was great each time.
On working with director Werner Herzog: I have to shoot without any breaks. I yell at Herzog and hit him. I have to fight for every sequence. I wish Herzog would catch the plague.
I tell a story, and therefore I exist.
We had a work session [in "Moneyball"] where about 30 scouts came in and we're all riffing. And after it, [director] Bennett Miller said: Look at these faces and this is what we have to got to do. We got to get these guys in the scene.
You hear again and again that audiences want to see movies that are different and critics say we [directors] make the same thing again and again in Hollywood, then you go and make something different and you get kicked in the gut for it.
I'm a writer and director, and the movie I've seen a million times is 'Stardust Memories' by Woody Allen, starring Woody Allen and Charlotte Rampling.
Become the director, producer, choreographer of your own story
The real trick for me as a director is to make sure that people don't start pushing because the harder you push as a perform the less funny it becomes.
It [moviemaking] is not really done on a yearly basis. It's about how the material, and when the material comes in. If you develop your material and the script comes in great and you can attach a director and a cast and go off and make it, then I could make, I don't know, six [movies] a year. Or I could make one. It really depends.
Francis Ford Coppola
Most directors have one masterpiece by which they are known. Kurosawa has at least eight or nine.
Some things you know about, you know what the ingredients are - maybe not all of them. But it's up to you to put in the amount. It's up to the director to nag you until you get it right.
I even think the commercial element of new American directors is really fertile right now. There are a lot of filmmakers with very particular visions, like Sofia Coppola and Wes Anderson and P.T. Anderson and Alexander Payne and Peter Sollett and Harmony Korine and Vincent Gallo. At least they're making films that they choose to make, and they're on their own. That's positive to me. This is not a dead period for American cinema at all.
Of course, at their best, movies are anti-literature and, as a medium, belong not to writers, not to actors, but to directors.
My distinguishing talent is the ability to put people under the microscope, perhaps to go one or two layers farther down than some other directors.
Saying directors don't write because they don't type is very wrong, it's like saying Dylan doesn't write music because he doesn't write notation.
[Alejandro González Iñárritu] went from Birdman to this - these are incredible ledges that he's stepping out on in making these films [The Revenant]. I think his only threat for best director is Room, to be honest.
I think producers are more interested in backing concepts than directors and writers. I don't think that's the right way of making a decision about whether you're going to back a film or not.
I majored in Chinese Studies. I'm probably the only director of chicken Indian zombie movies who can speak pretty good Mandarin.
It's seldom that you get to work with one director more than once. I've worked with Clint Eastwood three times, but that's the only one that's happened with, simply because I adore his work.