Best 1750 quotes in «directors quotes» category

Lucio Fulci is such a massively underrated director. Everyone knows him as the Godfather of Gore.

Lyrical lecture, word architecture, Rap director, the best in my sector. Microphone cool chief, releasin the smooth speech... I get nasty with a pen and some loose leaf.

Making a film, you're in a really dark tunnel and the only kind of illumination is the shared experience you're having with your fellow cast and director.

[Making movies is] 80% script and 20% getting great actors. There's nothing else to it.

Making movies can be a creative exciting project for director and rest of staff.

Many of the museum directors who make an impact personally curate exhibitions.

Many plays - certainly mine - are like blank checks. The actors and directors put their own signatures on them.

Many times, when a director reads a script and wants somebody who says 'Far out', then they let me do what I want with it and that's usually more interesting for an actor.

Masood Ahmed brings to the position of director of external relations extensive experience gained in a range of senior positions in international finance and development.

[Martin Scorsese ] basically works just like any other director. You work the scene, you try to find what's best in it and make it work. That's what it was like.

Matching character and actor is what a good director does.

Maybe if we sit out for the next few years and let Clint Eastwood get a little experience, he's going to be a good director.

Maybe I'm too masculine. Casting directors cast in their own, or an idealized image. Maybe I don't look like anybody's ideal.

Michael's Powell art director was a painter and they had a wonderful friendship and artistic understanding. Michael himself, in the way he designed his own house, it was always with bright colours. Very un-English!

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.

Mike [Mitchell] brought me on as co-director, and eventually we ended up sharing a brain. It was overwhelming initially when I was working with departments I hadn't had contact with before.

Most actors don't really have a director's sensibility. They have an actor's sensibility.

Most directors have little lists in their heads of people they really want to work with.

Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'

Most directors prefer to direct everything themselves. I thought I could on Lord Of The Rings, but very quickly found out that the sheer scale prevented it.

Most of the film directors expect their actors to want to work fast.

Miloš Forman is a great director; Jim Brooks is a wonderful writer and director.

More often than not, if you've got a good director and a good script you can't really go wrong.

Most directors have one masterpiece by which they are known. Kurosawa has at least eight or nine.

Most films and directors lose their nerve and want to indicate [emotions] a bit more, to show that their story is clear. I'm not saying that's a good thing; as an actor its anathema to good acting, but to have someone with the confidence to say that should I be utterly natural and minimalist is great.

Most of the films are only 60% taken, rest is a director's input.

Most of the great directors I've worked with - De Palma, Spike Lee - like rehearsals.

Most of the time I've worked with directors who write their own scripts. The story is more important to me than the part. The project of the film has always been more important to me.

Most screenplays depend primarily on the vision of a director.

Movie making is really, it's a director's medium, it's not even so much an actor's medium.

Movies are certainly a director's medium, so getting the opportunity to work with really good directors is everything to me.

Mr. Cukor is a hard task-master, a fine director and he took me over the coals giving me the roughest time I have ever had. And I am eternally grateful.

Music and language are a vital element. We, as actors and directors, offer it to people who want to experience it. Sometimes the actual meaning is less important than the words themselves.

Music is just one of the tools a director has with which to paint and I think it's one of the most effective.

My advice to women directors is just to make the best work possible.

My father was a director, and he used to always tell me, "You should be an actress." When I was 17, he gave me a job so that I'd be in the union.

My biggest advice for women writer/directors is to always be attempting to make work that avoids pandering to the conceptions that the industry has put in place for "women directors.

My contributions were many: First clown director, with witty sayings and flashily dressed, now called master of ceremonies.

My distinguishing talent is the ability to put people under the microscope, perhaps to go one or two layers farther down than some other directors.

My father was a film-maker. He always said he wanted to go like Humphrey Jennings, the legendary director who stepped backwards over a cliff while framing a better shot.

My big break was becoming the spokesperson for Texas Instruments. Casting directors really started giving me a chance to read for projects.

My father was a television director and I always knew I wanted to be in the industry but I had thought my role was behind the camera as opposed to in front.

My father worked for governments all his life as an engineer and public works director.

My favorite parts of work as an actor and a director are those unplanned mistakes that do happen, because it's like catching lightning in a bottle. It's the best part of what we do.

My first day on the set of 'John Adams', I was just supposed to fly to Virginia for a costume fitting. But the director figured, why not shoot it, too? So they threw me into a dress that didn't fit, gave me lines I hadn't seen, in a dialect I didn't know, and two screaming, arching infants.

My generation of director has no illusions that we are going to be fed and cared for by subsidized theater in America.

My goal as an actor, as an up-and-coming actor in this business is to stay consistent with the work, you know, and if you do good work, and stay focused on the work, writers and directors will pay attention.

My ideal role would be the lead in a film with a director that I really appreciate and admire.

My height can be a problem. A lot of directors and photographers are sometimes not happy because I'm pretty tall and especially if I work with short actors the difference can be pretty massive.

My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.