Best 1750 quotes in «directors quotes» category

When Shana Alexander interviewed me for Life magazine in 1952, she gave up after 4,000. At one time or another, I've worked for every studio in Hollywood, for almost every director with most of the actors and actresses.

When somebody who makes movies for a living - either as an actor, writer, producer or director - lives to be a certain age, you have to admire them. It is an act of courage to make a film - a courage for which you are not prepared in the rest of life. It is very hard and very destructive. But we do it because we love it.

When tradition is thought to state the way things really are, it becomes the director and judge of our lives; we are, in effect, imprisoned by it. On the other hand, tradition can be understood as a pointer to that which is beyond tradition: the sacred. Then it functions not as a prison but as a lens.

When you are completely satisfied with what you have made, you're pretty much done as a director. So when that happens, that'll sort of be the end.

When you are shooting a movie, you have to collaborate with many, many, many people. First of all, the director with all his own ideas and I can only just help him with that. I cannot change his idea.

When you are doing stand-up comedy, you are the writer, producer, director, sometimes bouncer.

When you do a rewrite, it's really about serving the director's vision, and what the director needs to go into that script.

When you do a movie, it's like going on a journey. It's really like the director is the captain of the ship, and that energy, everybody feels.

When you do improv, you're everything. You're a performer, writer, and director, because you're moving the scene in the direction you want it to go, you're making it up as you go, and you're acting it.

When you first get out of doing a show for a long time where you played a teenager, casting directors and producers all still look at you as being the character that you played for so long.

When you grow up in the [film] industry, the director is your father. You follow your father's lead, but you make your own way.

When you look at a movie, you look at a director's thought process.

When you look at the early-'30s movies, like King Kong, the codes of acting are very similar to those of silent movies. In some of the silent movies - the good ones, the ones done by the best directors - the acting is very, very natural

When you're acting, you're subjective; when you're a director, you're more objective.You're kind of watching from the outside and helping others, and therefore I learn my mistakes through others, and also my assets through others.

When you're a director you always feel weird with another director watching over your shoulder.

When you're a director, for two years or at least a year and a half, that's what your life is. So if you're gonna do it, you gotta be ready to do it and it has to be something you care about. I've found something that I do care about.

When your characters are really living they tell you what they do.

When you're a lead role, I'm learning that you set a tone for the movie in a way, like a director does, or like other actors do. But it seems like you set a mood on set.

When you're a screenwriter, it's like being a mechanic. You open the hood of the story, the director is the driver, and he says, "What do you think? It's a little tough.

When you're a producer or director, there's so much sweat that goes into any given project.

When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.

When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while keeping the established tone and the pace and the characters.

When you're artistic director of a program, you present the music you want to present.

When you're in sync with the director, on the type of movie you want to make, the arc of the characters, how the characters intertwine and interact, plotlines and story, and things like that, it really makes a difference.

When you're making a television show, it's about the story and arc of the show rather than any particular episode or director.

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.

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.

When you're on stage with an audience, the director's nowhere to be seen. He's onto the next job.

When you're really working well with a director then you can be as outrageous as you like and so can he. And there's no worry about it.

When you shoot a film, when it was film, there used to be rushes and normally a director would look at them the next day. All directors look at the rushes, except for Fellini. I asked him why he didn't and said, "Because it interrupts my fantasy." What he was trying to say was that he had a three-dimensional, vibrant, living, volatile fantasy going on in his head, and when he looked at rushes, they were two-dimensional and they killed it.

When you trust your director completely, then you can relax, be spontaneous, be malleable.

When you're not gaping at Megan Fox enough to listen to what the director's saying, you can get some work done.

When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.

When you see the films of certain young directors, you get the impression that film history begins for them around 1980.

When you start a new project and they say, "Your director is going to be Joe Blo," you're hoping that Joe Blo will be the next Martin Scorsese, but it doesn't always work out that way.

When you work with someone you don't quite know, you have to figure the director out and you can come up with ideas that are counter-productive.

When you work with a great director, you realise you are far from being a director.

When you work with a great director, you can have a great partnership.

Whether you're a cameraman or a director, you should ask yourself every now and then, 'What am I trying to do?' Be honest and keep things very simple.

Why would people have confidence in a female director when there are so few?

Who would have thought that [director] Cameron Crowe had a movie as bad as Vanilla Sky in him? It's a punishing picture, a betrayal of everything that Crowe has proved he knows how to do right.

William Castle and Alfred Hitchcock were the first director-personalities. Before then, nobody in America knew what a director was.

With an inexperienced director, a lot of times the days go on to 14, 15, 16 hours. It goes horrendously overtime. And because of the lack of money, they just keep you there, regardless of the hours.

With Alien, because we always use a different director, each one kind of stands on its own. So I guess it's possible for them to make another one, but we have no plans.

With actors and directors, it's a conversation that you have. You have to learn each other's language and learn how to communicate with each other effectively. It's really nice when you can have that communication on a level where they walk up to you and you can see by the expression on their face what they want. You don't even have to talk, it just like, "Got it!" And, you know what they want before they even ask for it.

With every movie I produce, I learn something. I watch the directors. It's like the relationship you have with your children. I'm there to learn from my daughters. They are the perfect spirits.

With the film, you have a bunch of executive producers, directors, writers, scripts. There's, management, lighting, the union and etc. There are so many components a part of that game, so naturally it isn't my world.

With RoboCop, I couldn't be happier because it's such a quality director.José Padilha is a young master.

With the most interesting directors, the cast comes together to make something magical that nobody counted on.

With Kubrick and most film directors, they are in complete control, but one can influence them.