Best 1750 quotes in «directors quotes» category

I've been very lucky. Directors I've worked with have been very amenable to changes.

I've been very lucky to work with a lot of amazingly supportive directors.

I've been very, very lucky in my career, in my life - from day one. When aspiring directors say, 'what's your advice?' first I say, 'be born the son of a famous director. It's invaluable.'

I've come to the possible conclusion that being a comedic writer/director is like running track. You do it for a certain amount of time and then you have to stop. Or you at least have to accept that you're not going to be at the top of your game. And that's OK.

I've certainly worked with really great directors who haven't acted.

I've constantly done my best to get the best material I can get with the best directors I can get to direct me.

I've been working with Five Four. The partnership started as one monthly collaboration, but now I'm the creative design director. There are still going to be collaborations for monthly drops, but we are launching e-commerce.

I've done so many movies with first-time directors, and honestly I just go with gut instinct. People that usually can tell me a good story, and talk to me about why the movie is the movie they want to make. I just go with my gut.

I've done a few movies where I really liked the project, but I wasn't sure about the director, and I still did it and my instinct was right, in the beginning. Even though it was a good story, the guy still didn't really know what he was doing.

I've done auditions where the casting director is taking the paper out of my hand in the middle of reading.

I've found that the more experts you have on a movie, the less control the director has.

I've had really great experiences working with first-time directors. They come at filmmaking with fresh ideas. I've been very lucky that way.

I've had a couple opportunities where I've been on the other side of the audition process as a director.

I've had a real lucky time working in Hollywood. I've talked to other screenwriters, and they're all kind of beaten down and their spirits are crushed, because they work on these screenplays and these projects, and then directors either take them and change everything, rewrite them and make them worse, or they film them and they're nothing like how they imagined it to be.

I've imparted that philosophy to the writers, but some of them look stuff up while some don't. Same with the editors, directors and actors. To each their own.

I've learned a lot from Clint [Eastwood], who's an extremely economical director.

I've learned from every director I've worked with. Everybody's style is very different, and I always say that being an actor is the best film school that I could ever go to.

I've never acted before in a movie I've directed. This felt like the time to do it just because the " Leaves of Grass" movie itself is so much of a platform for the lead actor. It's really written for an exciting performance and it really depends on the audience watching an extraordinary actor having a great time pulling off this feat. It makes sense to me as a director to act in support of that.

I've never been a fan of directors who clutter a piece with all sorts of crazy preconceptions or weird ideas.

I've never done a movie in that genre, and I love a lot of those movies. I watched the director's [David Freyne] short film [The First Wave], which I loved. And the script was just so good. He's found this way to tell a new story.

I've never played a Dane in a movie. I've had offers to be in Danish movies, including for some good directors, but I either had a job at the time or, when I was available, the movie just didn't happen. Hopefully someday I'll do one.

I've never quite understood the idea of a "season." Whenever an artistic director says to me, 'I have this slot,' I always start to feel we're parking cars or something.

I've never let producers tell me what to do. Even when I was making television, I always did what I wanted to do, and if I couldn't, I didn't do it. It was a freedom that, these days, young directors starting out don't have.

I've never wanted to be a fireman, in my life. I've never really wanted to grow up and be anything other than a film director.

I've really enjoyed my work in television, but the problem for me is the turnover of directors every week.

I've watched other directors as an actor and I picked up little things here and there about cameras, [but] I wouldn't consider myself the guy you'd want to hire to do Star Trek.

I've worked with some very good directors and some very bad ones. I learned a great deal from both. From the bad, untalented people, you learn what not to do. And when you work with very highly talented people, you want to emulate them.

I've worked with some of the great cinematographers. So I'm always watching what they do and I'm watching how the director composes his shots, just because I find it interesting as an actor; you're trying to help them out as well.

I've worked with Steven Spielberg three times. I'm proud to say that I'm one of those actors that continues to get hired by the same directors.

I view filmmaking as a director's medium.

I've worked with many directors, good ones and bad ones. So if I have a chance to work the good ones, I better put myself in their hands, and trust them, because that's my big opportunity to be different, and to be better than usual.

I've wanted to work with [Kairo aka Pulse director] Kiyoshi Kurosawa, but he has not been making horror movies recently.

I've worked on shows where the lead actor doesn't know their lines, doesn't care, and it affects everybody - the crew, the director, the other actors. It's definitely a responsibility.

I've worked with acting coaches, I've been going out on auditions and meeting with casting directors. But I'm not known as an actress.

I've worked with some absolutely wonderful directors who bring out the best in me and I know I can trust, and then I've had the opposite experience, too. I've had both experiences, and obviously one is good and one is not good. When they're great, it's good. When they're not great, it's not so great.

I've turned down good directors before because I knew the part didn't speak to me and I've worked with less talented directors before because the part I had such passion for.

I've worked with Jack Nicholson and Robert De Niro and Tom Hanks. I've worked with some really good directors: Woody Allen, Paul Schrader... My God, I've really worked with a lot of people. But I'm intimidated by them, and I'm always thinking, "Oh, my God, he's not going to like me, and I'm going to get fired.

I've written a lot of scripts that someone else directed, and it's absolutely vital that, if I'm gonna act in it, then I have to take off the writer hat and let the director direct.

I wanted to be a film student again, as a man in my 60s. To go someplace alone and see what you can cook up, with non-existent budgets. I didn't want to be surrounded by comforts and colleagues, which you have when when you're a big time director. I wanted to write personal works.

I wanted to do - there was this film called 'Magic' that Anthony Hopkins did. And the director wanted me. The writer wanted me. Joe Levine said no, I don't want any comedians in this.

I wanted to trust in my partners and the directors and producers and do the best I can to deliver what I could deliver.

I wanted to work on a cable show and with a writer/director because that's a much more fulfilling and freeing experience, as an actor.

I want to really stress this, I am a director, an actor, producer, action choreographer, and I'm also an investor.

I wanted to just surround myself with people who I think are better than I am, whether they're actors or directors or producers, so that I could learn from them.

I want to get into the theater. I really wanted to be a theater director, but I turned out to be a movie director.

I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.

I want make more records with my sister. I want to go on the road. I want to tour around the world. I want to continue to make great films and work with incredible directors that I respect and look up to.

I want to be fulfilled creatively as an actress and get to be in roles that are meaningful and impactful. I hope the same thing for myself as a director, one day. I want to make things that have an impact on how we look at the world.

I want to do literally everything. I think I was gifted... I inherited one of the best comedy visionaries as a director.

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.