Best 1750 quotes in «directors quotes» category

I believe young female directors in particular should always remind themselves of the truths of their own stories and not let outsiders influence the authenticity of their films.

I came across awful characters when I got some kind of status and came to Hollywood. Then you have directors trying to sleep with you, assuming that you will do things because of the way you dress.

I can make fried tofu, boiled tofu, stuffed tofu. Cutlets and other fancy stuff, that's for other directors.

I can make a better living as an actor than I can as a director. Though I certainly would prefer to be directing movies.

I can rely on me [being a director], unlike some actors. I never got anything less than what I needed from the lead actor.

I can't act. I simply must be myself, do the things that seem natural to me. When I get with a director who wants me to act, I'll be lost.

I can't imagine any director directing a screenplay of mine, because the great directors all have very personal styles, and the ones that don't are not very interesting directors.

I can't imagine being a woman in the world of acting, like where you age starts to weigh you down - you go from being attractive to where they [directors] decided you're out... I feel like with stand-up comedy, it doesn't matter if I've gotten fatter.

I can't stand directors who try to micro-manage everything. When it happens these days I just walk off set, saying if they don't like the way I'm doing it they can get someone else.

I certainly like the actor to have as much lee-way as possible. In the same way that director Bong was generous enough to let me create, you have to do that for actors, as well, and let them use the tools they have, and part of that is their own brains and their own words.

I choose movies, I never choose roles. I look at the script. I look at the director. I look at the other actors - and then the role.

I couldn't be a cameraman or a designer or an actor - I have to be a director because I learned how to do that from my dad.

I'd been on all the television programs as an actor, as a writer, as a director, as a producer.

I'd been working so hard making the film that I hadn't even emotionally processed the fact that I was a director.

I'd done table reads for my own screenplays, and I always thought they were so much fun. Why couldn't we do these for other classic screenplays and bring them to life? You can experience live theater, where you get to see plays produced by different directors and different casts, but there's really nothing like that for movie scripts.

I definitely divide my life into decades. Almost every ten years, something in my work life has changed. My twenties were my journalistic phase, then there was my screenwriting phase, then I became a director, then I started doing some plays.

I depend on good editors and a good director.

I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

I did my first movie, "The Mambo Kings," in America without speaking the language. I learned the lines phonetically. I had an interpreter actually just to understand directions from my director.

I did direct two short movies. I learned many things, and one of the things I learned was that I am not a director. It has to be visceral, and it's not for me. I feel much more comfortable acting.

I depend on good editors and a good director. It's up to the way they shoot it, the lighting and all that. I like how small you can be on TV.

'Ides of March' I did for scale - scale as a director, scale as an actor, scale as a writer.

I detest producing. I mean, I feel like I do it to enable myself to do all the other stuff that I do love, but I find it's in conflict with the other roles because the producer needs to be the one who says "No" and the director and the writer need to let their mind be free.

I didn't even know what a film director was. To me, Charlie Chaplin was a goofy clown, and John Ford - what? Never heard of him.

I didn't have the problem of finding myself at 45 on the wrong course - I always wanted to be a film director.

I didn't just see myself as a film director here [in Life And Nothing More], but also as an observer of people who had been condemned to death.

I didn't know [director] Aaron Woodley at all, but I knew I wanted to be a part of [ The Entitled ].

I didn't really know what I wanted to do, and then I got this call from a casting director in Los Angeles. She remembered me from something years before, and she called my mom wanting me to audition for this thing.

I didn't want a guru or a kung fu master or a spiritual director. I didn't want to become a sorcerer or learn the zen of archery or meditate or align my chakras or uncover mast incarnations...I was after something else entirely, but it wasn't in the Yellow Pages or anywhere else that I could discover.

I directed before I was even in television; I directed in the theatre for seven years, so that was my trade anyway. But in the UK, I've given up any hope of being considered a director.

I didn't go into the theater to be a producer, I went into the theater to be a director.

I discovered early in my movie work that a movies never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.

I'd like to think every director I've worked with has fallen in love with me, I know Dorothy Arzner did.

I'd love to be a huge television director. I definitely want to do that. I could imagine me going more and more into that, as I age.

I'd love to see more women working as directors and producers. Today it's almost impossible to do it unless you are an actress or writer with power. I wouldn't hesitate right this minute to hire a talented woman if the subject matter were right.

I'd like to decide who comes here. I'd like to be the admissions director of New York.

I'd love to direct a film, but I don't think I have the temperament for it. I'm very hyper, and I want things to be done ASAP. If I turn director, I might end up killing my actors.

Id love to see more women working as directors and producers.

I'd love to see the rushes but it's just not allowed because directors and also a lot of actors feel that if they see their work, and the director likes what they're doing, the actor might try to correct their mistakes.

I'd never really done comedy before Community, so getting to work day in and day out with all these great people, directors, writers, and actors, I feel like I've learned a lot.

I'd never worked with an actor-director before [Warren Beatty].

I do believe female directors, as well as our female writer, can bring out male vulnerability that some men can't because they can't face it.

I do believe in us as actors and directors and writers and producers and also as movie-goers. We have much more power than we believe we have. Without our ticket, studios can't make traditional decisions.

I do have more directorial control over animation, because it's like trial and error: If something doesn't work, you can always go back and change certain things. Whereas in live action, every day is a challenge, and you have to make decisions on an hourly basis. So in live action I have more freedom as a director, but in animation, I have more control over the final product.

I do listen to a lot of music. Actually, I very often ask directors if they can offer up a play list. They very often have one anyway that they're listening to.

I do like being surprised by directors and producers and being offered parts I would never have considered, including parts that aren't necessarily obvious but which would test me.

I do not talk to the FBI directors about pending investigations [on Hillary Clinton].

I don't believe in director's cuts and I also don't really believe in deleted scenes because the movie that is in theaters, that's what the director made.

I do a film because I like the story and I want to give life to a character - I don't necessarily have to agree with the director.