Best 1750 quotes in «directors quotes» category

It is only the untalented director who imagines him or herself in every part, wants his or her own thoughts and emotions portrayed; it is only the untalented who make their own limitations those of the actors as well.

It is so great to go to a casting director and have them wanting to talk about the show that you are in. It's such a great icebreaker. It just makes the environment so much more relaxed.

It is tough to be a woman. Also as an actor, but more so as a director. And even more today, when distributors and producers are looking at different kinds of films and maybe not necessarily what a woman would want to do.

It is very difficult to follow your own method all the time because you may crash against some directors who want from you something different. Trying to understand the material, who you're working with, and how can you fit in there. That is my approach.

It is universally agreed that Jean Renoir was one of the greatest of all directors, and he was also one of the warmest and most entertaining.

It just so happened that J.C.[Chandor] was a first-time feature director, and his script was exactly the kind of thing we were looking for.

It [moviemaking] is not really done on a yearly basis. It's about how the material, and when the material comes in. If you develop your material and the script comes in great and you can attach a director and a cast and go off and make it, then I could make, I don't know, six [movies] a year. Or I could make one. It really depends.

It really depends on the director. I think quite often, it's not what you expect. The most serious film can be the most fun. The one that's supposed to be fun can be the most serious. I don't think there are any hard-and-fast rules. I just think it really depends on your director and what the general vibe is.

I try to add as much as I can before a director says, 'Harold shut up!'

I try to just make what I want to make or what I would want to see. I try not to think about the audience too much.

It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.

It's a collaborative art form where we can both learn something from the other. That's what you want from the relationship with a director.

It's all about the director for me; we have to click. It's a trust thing. I'll say I'm ready to let down my walls. I'll cry for you as long as you need. But you're going to have to hug me afterwards.

It's a lucky circumstance when you get to usher in new work, because you are able to ask the playwright and the director (who in a new work is always in dialogue with the playwright) an unlimited amount of questions.

It's always interesting to see a director trying different things, and on top of it, doing it right each and almost every time.

It's always the script first choosing roles. [Then] whoever else is attached. I never like to be the first person attached, because I don't really trust what's going on, unless there's a really good director.

It's an extreme to go from an artist like myself to a commercial artist with art directors looking over your shoulder, or any other knucklehead telling you what your art should look like.

It's a roll of the dice when you're a first time director so I prefer to work with people that know more than I do, but that happens less and less as you get older.

It's always the story that interests me.

It's an important thing to have a relationship with the director, and have it be a positive one.

It's a surreal thing because you are there and made up and dressed up as if you're making the film. You do the scene, which is going to be in the film, and I met him [Daniel Craig] and I'm working with the director, and so it is different to just a normal audition.

It's dangerous for one actor to advise another one, especially when you're not in charge. On the set, I'm never gonna tell another person, "Here's what I think you should do." That's a discussion they should only have with the writers, producers, and directors.

It's a writer's or director's role to be cerebral, whereas for an actor it should be a visceral, gut thing. When the action starts, it's best to turn the brain off and let it become an instinctual thing.

It's either because of the number of times the scholar puts the boot into Peter Jackson the director of The Lord of the Rings films or is making a point they have never heard of.

It's fair to say that if you have a lot of experience, your power is greater. You have more of an opportunity to roll up your sleeves with younger directors.

It's great the way the old-time directors used to manipulate the hell out of you. You see someone dying and all of a sudden a ghost would come out and they go walking hand in hand up the stairway.

It's fun to do something funny and have the director laughing. It makes you feel good.

It's hard to be surprised by a film. It's hard to be surprised by another actor or by a director when you've seen enough and been around. So when I am, or when I forget that I'm watching someone's movie, or when I don't know how someone made a certain turn that I didn't expect... You know, I'm in.

It's hard on an actor when you have to do a scene 45 times and you know damn well that three of the angles a director is shooting will never make it into the movie.

It's hard to be reverent today when directors make films that are not as good. There will be time later, though, when their lesser films are forgotten and just focus on the greatness.

It's hard to give up that amount of control. It's scary to make yourself that vulnerable. Because you might do all kinds of things that are unplanned or are unexpected that maybe don't work, and you have to trust the director to see that and work around those things. I find it really scary.

It's important for me to work with a strong director because I know I can go to some really deep places, I just need direction on how to get there.

It's great when improv is encouraged. It's a really fun thing. It depends on who's in the movie and how their process works, as well. It takes a director who is open to that because you have a script, but then something funny could happen on set. So, to have people around you who encourage improv is really exciting.

It's impossible to put your finger on what that is exactly other than protecting the environment that the actors get to find the scenes and build the scenes and invest in them. I think that's key and that's what I've learned from all the great directors I've worked with.

It's great working with directors and with somebody else's vision.

It's harder being a woman director because on the whole women don't have husbands or boyfriends who are willing to be wives

It's just unfair that talent of color aren't given the same opportunities as white and male actors, directors, producers, writers, et cetera.

It's kind of interesting to be a director who is all of a sudden being an actor playing an agent. This is my whole world!

It's not often that you get a director, singing the praises of his executives.

It's pretty damning. That's Hillary Clinton juxtaposed against the FBI Director Comey yesterday, clearly illustrating she lied.

It's often the case with directors that they don't like to share credit, which is the case of Stanley. He would prefer just A Film By Stanley Kubrick including music and everything.

It's possible for me to make a bad movie out of a good script, but I can't make a good movie from a bad script.

It's quite liberating to have a director stand beside the camera and say: "Do this now, and do that now..." It's also a bit sordid but it liberates an actor, I think.

It's really hard as a screenwriter, you feel like you have a vision and then you turn it over to a director and you have to let it go.

It's so sad to me [see the director's versions of films] because it shows how the filmmaker never got to make the film he had originally envisioned. You watch it and go, "Oh my god, he had to cut that scene! I can't believe it.

It's seldom that you get to work with one director more than once. I've worked with Clint Eastwood three times, but that's the only one that's happened with, simply because I adore his work.

It's really rare for film directors to be that interested in things other than themselves.

It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack.

It's such an intimate experience, being a director, artistically. It's deep and it's satisfying and it's wonderful, on so many levels, but it's also really scary.

It's turned into a world of amateurs. There are amateur actors making millions of dollars, amateur cinematographers, amateur directors... Jesus, these amateur directors can get deals for anything. Another comic book? Oh, very good.