Best 1750 quotes in «directors quotes» category

Somebody said that I'm a bit like a sponge, grabbing things here and there, soaking stuff up. [As a director] you have to be, really.

Some call me director, producer, filmmaker. I prefer to call myself pube-king.

Some directors involve waiting, and if you want to work with that particular director you're going to have to hang around.

Some directors are like it's their... nothing can change, nothing can move. I like collaborating, even when an extra has an idea, I like to bring to really have collaboration.

Some directors have just one way of working; you either have to adhere to it or you don't.

Some friends of mine who are actors feel directing shuts them down and kills all their impulses, but the worst thing for me is if I feel a director hasn't noticed.

Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.

Some directors are comfortable with music. Some feel comfortable discussing and talking and operating in a musical language. Others don't engage so much.

Some directors can tell stories and it becomes very intimate and small, and it's almost like a secret. Some directors have the gift of finding a way to show it and tell the story, in a way that brings in the audience.

Some directors, like Stevens [George Stevens], shoot full circle, 360 degrees, and that's what's right for them. I generally shoot at about a seven to one ratio. But part of that is because I've worked on every screenplay, so I'm further along in the visual concept.

Somehow, we [ Tan Dun and director Chen Kaige] were all privileged at the time; we could be outside of China. But at the moment, we had no sense of what the future was going to be like.

Some of the screen's best moments were realized because a director went against all reason, all logic. No matter how incredible a story seems, it can be made credible. If you feel an insane idea strongly enough, you've usually got something.

Some people feel like you need to have a very specialized understanding of music to have the authority to talk about it. They are such good directors that it's perfectly possible to have conceptual and directorial and storytelling conversations about music without needing to know all the technical pieces.

Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.

Some things you know about, you know what the ingredients are - maybe not all of them. But it's up to you to put in the amount. It's up to the director to nag you until you get it right.

Sometimes directors may not give you words, you know? They may not talk at all! You've just got to use your radar to figure out how you can get to the center and not lose yourself, but still be directed at the same time.

Sometimes directors feel like they have to justify that hat that they are wearing they've got on as a director, and they come in and they tweak and interfere.

Sometimes directors will hire you and say, 'Oh, we love your work.' And then they start to tell you how to do it. I say, 'Hey, man, back off. You hired me to do it. Let me do it.'

Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.

Sometimes I call directors. Sometimes I just meet with them. It just happens. It's not that I'm pushy. It comes naturally. But I go ahead. I don't stay in my armchair, waiting for the phone to ring.

Sometimes I get insecure about being a real director because I look at the great directors, and they have such command. But maybe that keeps me critical of myself. Maybe it keeps me moving forward.

Sometimes I'll go for something more because of the story, or more because of the director. But, generally, I have to feel like it's something that I have a real sympathy for - a person that I can completely go, "Oh, wow, oh, I'm there." Otherwise I don't feel like I will be able to pull it off at all. I know I haven't done everything very well in the past; some things have worked and some things haven't. But I need to feel like I can feel about the person, understand that person, I suppose.

Sometimes I take the watch, or I take the shoes, but usually the souvenir is to take the life you had with those directors, or the crew - the camera person, the lighting person. When you finish a film it's like a little death. You had a family for a bit, and you finish the movie and you probably will never see each other again.

Sometimes the director will want you to write about the character, sometimes he'll want you to live in the location that the character is from or something like that, but I don't usually make a lot of notes or anything like that.

Sometimes the odds are against you-the director doesn't know what the hell he's doing, or something falls apart in the production, or you're working with an actor who's just unbearable.

Sometimes the shots serve as homages to other movies and other directors, like Hitchcock.

(Sometimes when) someone's directing for the first time, they're afraid to include everyone - they have to prove they're the director.

Sometimes, with directors, you have to take what they say and translate it in your head, into something that makes sense to you, because you're speaking two different languages.

Sometimes what you lose in the time it takes to let an actor do something that you don't like as a director, you gain in not shutting them down creatively by telling them their idea sucks.

Sometimes writers or writer-directors can get nuts about words, but you know and I know that it's the thought process behind the words that motivates the words, that conveys real communication and meaning.

Sometimes you have to say the words exactly how they are on the page, but sometimes when you improv, it only helps to get across what's on the page, and I just love working with directors who allow that.

Sometimes you can't even find the director on a movie set. Sometimes you don't want to find the director on a movie set.

Sometimes you don't need to explain how you care and love someone so much, but I really love him as a person and as a director. I wanted to be perfect for Michael Mann. I wanted to give the best of my best of my best. I don't know if I did, but I was touched by him. He's totally inspirational.

Some very famous directors have started in the mail room, which is just getting inside the studio, getting to know people, getting to know the routine.

So, we come out to Los Angeles. And we met with every network. We met with show runners, directors, writers, everything. And what we had an idea for, they didn't like. And what they had an idea for, we didn't like. So, we went home.

Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.

So yeah, a good director will be able to listen and hear everything, but have a confident vision of his own that he can say, 'oh yeah - that's a great point.' And you never know; often you can help far more than you think you can, because there's so much more that he's juggling than an actor.

Stanley Kubrick was very selective when he went into a close-up. Every director has his taste in a performance, but Stanley would explore a scene to find what was most interesting for him.

Steve Zaillian is just the sweetest. A very, very wonderful and interesting director.

Subtle, funny and touching, with a striking downbeat authenticity. Director Craig Zobel is the real thing.

Technological civilization... rests fundamentally on power-driven machinery which transcends the physical limits of its human directors, multiplying indefinitely the capacity for the production of goods. Science in all its branches - physics, chemistry, biology, and psychology - is the servant and upholder of this system

Television can become a bit of a treadmill for directors. You come in, nobody knows you, the actors are already doing what they're doing, and you're just one of a number of directors who comes in.

So when I got the chance to do my first talk show, 50 years ago last month, I never had any writers. There was no budget - it was just me and the camera and my friend who was the director. I talked about what I'd done that week.

Stallone is a pretty tough director. You don't mess with him.

Take it from a director: if you get an actor that Sandy Meisner has trained, you've been blessed.

Tarantino is the coolest damn guy; he's just so much fun to work with. He might be the best director I've ever worked with. He just seems to know how to do it and he knows how to make you feel good about it. He's having so much fun you start having fun. You can't help it.

Ten years ago, it was really difficult for a young actress to walk onto a set and disagree with the director and having that be OK and have a conversation about it and everyone be cool with it.

That is a big turn-on for me, a director who knows what he's doing and what he wants, and knows when he's gotten what he wants.

That and when you're doing live action you don't normally get to see the thing before it's in production. In this case we'd go in every couple weeks and look at animatic and sketches. The way they do it - is they'll put it up on a screen and the storyboard artist who worked on that sequence will talk you through it. Kind of like a pitch session. Then they would leave and we would sit there with the directors and say 'Alright - what if we change that? What if we do that?' It's very different from live action.

That business aspect of the media, that Charlotte Street world, the advertising and programme executives, it leaves me absolutely cold. I'm supposed to be the director of a television company, but I've only ever seen that company as a vehicle for making the kind of programmes we wanted to make, getting our ideas on the screen.