Best 1750 quotes in «directors quotes» category

Awards are important for all directors because they improve your working conditions. You're only as good as your last film, so if you get prizes or large audiences, then you get more money for your next film.

A writer/director is a tough thing to gauge when someone hasn't directed a movie before. You just don't know. Sometimes it will be a great script that's written beautifully, and then the director who has also written it does not have the facility to translate it.

Because of 'The Birds' and 'Marnie' I was, as the expression goes, hot in Hollywood and producers and directors wanted to hire me.

Because I've made a film with such an amazing director as Tarantino, I'm much more conscious of working with good directors from now on, so that's what's important to me. I don't really care about making a big movie - I just want to make good ones.

Become the director, producer, choreographer of your own story

Be collaborative. I've had some of my best experiences with directors who were able to sit down and have a conversation and ask me what I thought.

Becoming artistic directors is an enormous responsibility and not one that we take lightly.

Be extremely subtle, even to the point of formlessness. Be extremely mysterious, even to the point of soundlessness. Thereby you can be the director of the opponent's fate.

Before you can steal fire from the Gods you gotta be able to get coffee for the director.

Being a creative person. It's so much more rewarding when you find things on your own, to live whatever the writers are writing or to display what the director is looking for. You are the thing that everybody uses to get the story out.

Being a [bank] director is like being a pilot of an aircraft - it's years of boredom and seconds of terror.

Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.

Being a director is almost like being another sort of character, but you're out of view.

Being a good director is knowing sometimes when not to say something.

Being a head designer or art director or just even a designer, you need a certain level of experience and maturity.

Being a producer, I deal with a lot of different directors, and some of them would drive me insane with all the different histrionics, and the mystique that they carry.

Be what we make, and not who we are.

Boards of directors are allowed to work together, so are banks and investors and corporations in alliances with one another and with powerful states. That’s just fine. It’s just the poor who aren’t supposed to cooperate.

Bud [Yorkin] was the kindest and dearest man, and one of the most talented directors there was.

Blood City III: The Massacre. I'd read the summary of it online, and frankly, it sounded like the directors had just decided to film my life.

Blockbusters run the mainstream industry. We may never again have a decade like the 1970s, when directors were able to find such freedom.

Bollywood directors are like cricketers where in one match you score a century, and in the next match, you are out for a duck! Moreover, very few directors are consistent in Bollywood.

[Bong Joon-ho'] is quite different but technically, he is as clever as [Alfred] Hitchcock. That's saying something. In humanitarian terms, I think he is much cleverer. He is one of the best directors I've worked with. I absolutely adore working with him.

Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.

But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.

But, I think it's great to be able to work with established directors, and then also first-timers. I feel like you learn from both of them, but then you can go and share your knowledge with each of them. That's really fantastic!

But I don't think of myself as a foreigner or a Frenchman! I just think of myself as a director. Whether I'm French or Australian or whatever, it's really not important.

But if one could go back in time, I'd love to have been directed by Howard Hawks, who's one of my great heroes. One of the greatest directors there ever was. He directed probably one of the greatest westerns of all time in 'Rio Bravo'.

But in the UK, I've given up any hope of being considered a director.

But it's cool working with female directors because I'm a girl, so you do relate to them more. You can talk to them about other stuff like clothes and all that.

But that's not what an actor does. An actor finds things in the moment with a director and other actors that you don't have time to hand-draw or animate with a computer.

By the time I got to be director of product management at Thomas-Conrad, I was in a better negotiating position, as I had accumulated more accomplishments and gained a reputation for having a great work ethic.

But then foreign critics right away made sweeping comparisons to haiku, noh theater, and directors like Ozu, as if the movie were somehow representative of Japan - which was, well, not what I was after. Similarly, with After Life, I deliberately set out to make a movie that was unlike what I imagined the foreign conception of Japan to be, and I figured non-Japanese wouldn't find it interesting at all.

But when you work with the director and the real person who is playing opposite you, it changes everything. You are almost in a working session. I was very comfortable, and that’s maybe what helped me to get the part.

By the way, I'm not sure the managing director who was 50 in 2005 understood that the job had changed - that when he or she came out of school in 1986, that it was different. How would they know? We've got to admit that.

But the audience is right. They're always, always right. You hear directors complain that the advertising was lousy, the distribution is no good, the date was wrong to open the film. I don't believe that. The audience is never wrong. Never.

But you really - I always think that a director has got to adapt to whatever the needs of the actor are. You know, so if you take someone like Eddie Murphy, who is not a big fan of rehearsal. You know he comes out of stand-up. He comes - it's all about capturing the moment - in the moment, you know.

By every measure, John Kennedy's sex life was compulsive and reckless. At one level, it had clear public consequences. Knowledge of Kennedy's behavior gave FBI Director J. Edgar Hoover absolute job security, as well as the potential power to derail Kennedy's re-election had he survived assassination.

By the first week of shooting, you know exactly where your film is heading based on the psychology of your director.

Cable TV has become where the best actors, writers and directors have gone to work because they are allowed to do character-driven stories.

By the time May rolls around, I'm probably going to want to spend a month on an island. But if Steven Spielberg or Steven Soderbergh or any number of directors were to say 'Hey, there's this role, are you interested?' I'd be there in a flash

Carbon trading engages finance directors. It takes the issue of energy efficiency right to the top of the company.

Carefully execute every instruction given to you by the director, producer, and studio. But that would be a life not worth living.

Casting directors tend to be the unsung heroes in this business.

Casting directors now just see me as the hard-core sniper or prison guard.

Character and emotionality don't always have to be relegated to quieter, more simple constructs.

Certain directors are known for a certain kind of beauty; it becomes their signature.

CIA Director George Tenet briefed a Senate panel ... about the current situation in Iraq. He described how cash was being stolen and women were being assaulted with impunity. Senators love to attend these continuing education seminars.

Cinema is a director's medium, so you're saying, "What do you want?" Being an actor is about adapting - physically and emotionally. If that means you have to look great for it and they can make you look great, then thank you. And if you have to have everything washed away, then I'm willing to do that too.

Continental directors, as opposed to British and American, tend to be somewhat high-handed in their approach.