Best 1750 quotes in «directors quotes» category

In the re-creation of combat situations, and this is coming from a director who's never been in one, being mindful of what these veterans have actually gone through, you find that the biggest concern is that you don't look at war as a geopolitical endeavor.

In time truth and science and nature will adapt themselves to art. Things will happen logically, and the villain be discomfited instead of being elected to the board of directors. But in the meantime fiction must not only be divorced from fact, but must pay alimony and be awarded custody of the press despatches.

In truth, Edward Teller ran the Livermore Lab, but for public purposes he liked it better to be known as only an associate director

Invention, my dear friends, is 93% perspiration, 6% electricity, 4% evaporation, and 2% butterscotch ripple

I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens.

I particularly remember the time I gave (the research director) my paper on the banking industry. I felt very proud of my work. However, he read through it and said, 'This is useless. What makes the stock go up and down?' That comment acted as a spur. Thereafter, I focused my analysis on seeking to identify the factors that were strongly correlated to a stock's price movement as opposed to looking at all the fundamentals. Frankly, even today, many analysts still don't know what makes their particular stocks go up and down.

I place a higher value on work ethic than talent, because, in certain areas, you just need to cast, you need to cast actors with talent, you need to hire directors with talent, but I've worked with very talented people who have a poor work ethic, and the outcome is less desirable than people who are less talented and have an incredible work ethic.

I personally find that each instalment has a different director, cast and crew, and I've also been in a different season in my life for each of them, so I feel like each movie is a unique experience that centres around my undying passion for music and dance.

I prefer to have playback, but sometimes, you can't have that under most circumstances. First, it is expensive because you need a playback operator and secondly, it threatens a lot of directors. I only watch my performance. I see what is necessary for me so that I can see it right at the moment and I can fix it. That appeals to me a great deal.

I produce the way I would love to be produced: In ways to create the best conditions to make your movie, but also to create a space in which the director calls the shots.

I randomly went to a casting session in my hometown in North Carolina, and the casting director introduced me to my manager. I really lucked into it!

I read every screenplay that was being sent to the other directors. None were being sent to me, but I was reading what others were choosing and what the best writers were writing.

I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.

I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.

I realize I am contradictory: I have an independent filmmaker's sensibility and a Hollywood director's short-attention span.

I realized the exciting place was behind the camera with the producer, director and so on.

I really do like working very closely with a director and developing characters.

I really think the mind of someone who hasn't been welded into place by their work or studios or actors or this whole society is a wonderful mind to work with, so I'd like to do a big picture with an unknown director.

I really want to meet and work with JJ Abrams. Everyone talks about what a nice director he is, and he has kids and stuff, so he sounds really awesome, not to mention he makes awesome movies.

I rely on my directors, a lot. I love being directed.

I remember a long, long day of filming and it took forever to get Kirk Douglas up on his cross. We played a terrible joke on him when, as he was safely installed, the assistant director called lunch and left him up there. He could have had the lot of us fired but he was very good about it. You have to have a sense of humor in this industry.

I rode it once, which was up the driveway in the opening credits of the show. I didn't know how to stop it. I actually nearly killed the director of photography, and I smashed into the sound truck.

I remember feeling that Michael was extremely sensitive when it came to that moment. Most directors are and they usually rely, at least in my experience, on the actress to take over. And Michael is a gentleman.

I see myself much more as a writer/director or at least an aspiring writer/director - not necessarily in film.

I seemed to belong to three countries: I had an apartment in Paris, a house in Hollywood, and when I married British theater director Peter Hall, I moved to London.

I started as a director and just fell upon acting.

I stayed in Hamburg a few more days, and during that time I received a visit from Rolf Aldag, the sporting director at T-Mobile. He advised me to tell the truth.

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 started as a director, but I was too bored with actors. I preferred to act.

I still can't quite believe it. Although there was something about the fact that it was a first-time writer, a first-time producer, and a first-time director all at the same time.

I still feel lucky whenever I hear a director say, "Action!" Because then I think, "Whoa, I'm really in the movies. This is a real thing happening." I've never not been enthralled by that. I still love it. I still love hearing it, and I feel really lucky all the time.

I suppose they call me a womans director because there were all these movie queens in the old days, and I directed most of them. But I also directed Jack Barrymore and Ronald Colman and James Stewart, to name a few.

I studied Hitchcock and Josef von Sternberg under Richard Dillard at Hollins, and that year under his tutelage just completely rewired my brain. Both directors combine moral seriousness with great artistry and, certainly in Hitchcock's case, an enormous respect for plot, for its power to enthrall and delight.

I still write. I'd love to write more trashy chick-lit. At the moment, I just re-write my own lines, which probably annoys most directors - though, thankfully not Adam Brooks!

I take it very seriously, music. I think it's one of the tools that a director has with which to kind of paint. The right music can sometimes do five pages of scripted dialogue.

It didn't matter that Charlie Chaplin may not have been a great director or a great anything else. He made great movies.

It became very clear to the director that it would be foolish not to use our friendship. I had tried to talk to him about it because all the relationships in the film are so, not negative, but antagonistic. There's not a lot of love going around.

It doesn't matter where you make movies or what the size of the movie you make is. It's a very hard job - especially director.

It always surprises me when I see the director's versions of films released separately, long after the film's theatrical run.

It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.

It can be a bit annoying if another actor is trying to talk to the director and the wife is sitting on his lap.

It doesn't matter if you work with an Oscar winner or if you work with an unknown actor. There is always a collaboration between the director and the actors, and you always have to listen as the actors have to listen to you as a director.

I tell a story, and therefore I exist.

I tend to project my father figure onto any director that I'm working with, or mother, if I'm working with a female, or it can be confused.

It doesn't matter who's directing, or who's doing the movie; there are a ton of things that can go wrong, and they do all the time. So you just have to figure out how to get through it, and then how the director finally puts it together, and then see what the audience takes from it. That's the most important thing to me.

I think a good director can embrace any genre and it's the kind of thing where you always want to do something different. You always want to challenge yourself.

I think a good director casts a film so that the actors bring a lot to the table.

I think all directors should be animators.

It helps, if you've directed, to be able to write a script that is director-friendly. You're really telling them [directors], "This is how it works on this show." It takes some of the guesswork out of it.

I think a lot of good directors listen to music while they're working. The songs just don't become a part of the film. They're replaced.