Best 1750 quotes in «directors quotes» category

More often than not, if you've got a good director and a good script you can't really go wrong.

Most actors don't really have a director's sensibility. They have an actor's sensibility.

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.

Most directors have one masterpiece by which they are known. Kurosawa has at least eight or nine.

Most films and directors lose their nerve and want to indicate [emotions] a bit more, to show that their story is clear. I'm not saying that's a good thing; as an actor its anathema to good acting, but to have someone with the confidence to say that should I be utterly natural and minimalist is great.

Most directors have little lists in their heads of people they really want to work with.

Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'

Most directors prefer to direct everything themselves. I thought I could on Lord Of The Rings, but very quickly found out that the sheer scale prevented it.

Most of the films are only 60% taken, rest is a director's input.

Most of the great directors I've worked with - De Palma, Spike Lee - like rehearsals.

Most of the film directors expect their actors to want to work fast.

Most of the time I've worked with directors who write their own scripts. The story is more important to me than the part. The project of the film has always been more important to me.

Most screenplays depend primarily on the vision of a director.

Movie making is really, it's a director's medium, it's not even so much an actor's medium.

Movies are certainly a director's medium, so getting the opportunity to work with really good directors is everything to me.

Mr. Cukor is a hard task-master, a fine director and he took me over the coals giving me the roughest time I have ever had. And I am eternally grateful.

Music and language are a vital element. We, as actors and directors, offer it to people who want to experience it. Sometimes the actual meaning is less important than the words themselves.

Music is just one of the tools a director has with which to paint and I think it's one of the most effective.

My advice to women directors is just to make the best work possible.

My big break was becoming the spokesperson for Texas Instruments. Casting directors really started giving me a chance to read for projects.

My biggest advice for women writer/directors is to always be attempting to make work that avoids pandering to the conceptions that the industry has put in place for "women directors.

My contributions were many: First clown director, with witty sayings and flashily dressed, now called master of ceremonies.

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.

My father was a director, and he used to always tell me, "You should be an actress." When I was 17, he gave me a job so that I'd be in the union.

My generation of director has no illusions that we are going to be fed and cared for by subsidized theater in America.

My father was a film-maker. He always said he wanted to go like Humphrey Jennings, the legendary director who stepped backwards over a cliff while framing a better shot.

My favorite parts of work as an actor and a director are those unplanned mistakes that do happen, because it's like catching lightning in a bottle. It's the best part of what we do.

My goal as an actor, as an up-and-coming actor in this business is to stay consistent with the work, you know, and if you do good work, and stay focused on the work, writers and directors will pay attention.

My father was a television director and I always knew I wanted to be in the industry but I had thought my role was behind the camera as opposed to in front.

My father worked for governments all his life as an engineer and public works director.

My first day on the set of 'John Adams', I was just supposed to fly to Virginia for a costume fitting. But the director figured, why not shoot it, too? So they threw me into a dress that didn't fit, gave me lines I hadn't seen, in a dialect I didn't know, and two screaming, arching infants.

My ideal role would be the lead in a film with a director that I really appreciate and admire.

My husband is a director, and I understand what it takes to direct. It's a skill set where you have to be able to talk to actors and understand them, and I don't. It's a very different way of being in the world, and I much prefer writing and producing.

My height can be a problem. A lot of directors and photographers are sometimes not happy because I'm pretty tall and especially if I work with short actors the difference can be pretty massive.

My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.

My job as the director is to make that as authentic as I can and not to disturb the revelry.

My interests were aroused, and my faith in the cliches of the subject destroyed, as so often with other subjects, by the discussions with my friend, Aaron Director.

My husband's a director, so he understands what I do.

My mother was an actress. My father was an actor and a director. I am the son of filmmakers.

My memorization skills aren't that great so I need help in that area. As far as everything else, I listen to the director. I'm someone who doesn't argue. I hit my marks and say the lines.

My main interest in being a director, and the most important thing to me, is that world with the actors.

My sole inspiration is a telephone call from a director.

My parents said, Oh, he's going to be a director someday. I wanted to be an actor.

My scripts are always heavily noted. If I can take a director to one side and say, "Do you mind if we try this?," a few days before, that's usually a better way of doing it then on the day.

My philosophy is that to be a director you cannot be subject to anyone, even the head of the studio. I threatened to quit each time I didn't get my way, but no one ever let me walk out.

My respect for animators and animation directors has gone way, way up and it is just not something you can phone in.

My tendency as an actor was to correct people, was to say, 'What if we tried it this way, what about if we tried that way?' That's terrible habit for an actor, but that's a good habit for director. So I became a director.

No comedy should be longer than 90 minutes. There's no such thing as a good long joke.

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.

My whole family is very artistic - my uncles are all actors and theatre directors.