Best 1750 quotes in «directors quotes» category

During 'Chicago Hope,' I never let directors talk to me, because I was so spoiled. I started off with people like Milos Forman, Sidney Lumet, James Lapine, unbelievably gifted people. So there I was saying, 'Don't talk to me, I don't want your opinion.' I behaved abominably.

Each Catwoman is specific to the Gotham City she lives in and the director that helps shape her. So it's kind of hard to have a favorite and I'm not just being political, it's hard to have a favorite because each one is so specific as themselves.

Each picture has some sort of rhythm which only the director can give it. He has to be like the captain of a ship.

Editing is not merely a method of the junction of separate scenes or pieces, but is a method that controls the 'psychological guidance' of the spectator.

Egotism is not a good quality. It's not something to be admired or even tolerated. It wouldn't be tolerated in a field commander and it shouldn't be tolerated in a movie director.

Emil's [Nava], the video director. Originally, I was meant to do all the stuff that the puppet was doing. I just wasn't that comfortable with doing it, so he had a puppet made.

Ensure that your script is watertight. If it's not on the page, it will never magically appear on the screen.

Establishing what the vision is and being able to stick to it is the job, and everyone should be on the same page, going in. With that said, first-time director or not, you never know what you're going to get.

European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films

Even if I loved the script, the director has to be right because it's all about the filmmaker. It's their vision. They're the ones that go back into the editing room and reassemble the film.

Even if my movies weren't big blockbusters, directors generally liked me, so they would fight for me.

Even the most elitist director or author who claims that he doesn't care if his works are seen or not, then I have to think that he's either a liar or a hypocrite.

Even with revivals, I dont really pay attention to previous incarnations. I always just go with the script and with the director and am willing to treat it as brand new.

Every actress has a line she'll draw, where she'll say, 'This I will do and this I won't.' For me, everything has to be important to the story and the director has to be able to tell me why.

Every film I've ever worked on, and that includes 'Braveheart' and 'Trainspotting,' I've always witnessed a director having a breakdown. Every director will have a day, without exception, where they just can't do it anymore, they don't know what to say to their cameraman, their cast. It's the sign of real, physical exhaustion.

Every actor you work with has a different method, same with the director. You have to figure out what your shared language is and how to best support each other, and also take care of yourself.

Every decent director has only one subject, and finally only makes the same film over and over again. My subject is the exploitability of feelings, whoever might be the one exploiting them. It never ends. It's a permanent theme. Whether the state exploits patriotism, or whether in a couple relationship, one partner destroys the other.

Every director bites the hand that lays the golden egg.

Every actor. every director, everybody needs an Oscar. You have to have that little statue in Hollywood or else you are nothing.

Everybody just asks me 'Are you going to make Hollywood movies now?' First, I don't know. Second, I never dreamed about that; I just dreamed about making movies with Tarantino. So if I can make movies with a lot of amazing directors - yes.

Every director should take an acting class.

Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.

Every film had its own grammar. And it's your job as a director to basically figure out a language to tell a story.

Every director works differently but one thing's important: they must have a vision. If they don't have a vision I don't care how they work.

Every part I've done has been for one reason or another-money, or the part, or the director, or the location. I'd like to get one thing that's all of those combined.

Everyone can do a character the way they want to do it, unless the director tells them not to, which isn't very common. I like to do my characters, if it's not specific in the script, as myself.

Every relationship should eventually become a long-term relationship. Any director that I meet now isn't just a director. He's potentially a friend, and someone I can call to do a project that I want or that I have. That's what I mean when I say branding and developing yourself, as a business.

Everything is the director's fault - you can quote me on that. There are no excuses.

Every single director-actor I talked to, from Warren Beatty to Clint Eastwood to George Clooney, said the biggest mistake they made is not shooting enough footage of themselves.

Every single time when you act in a film, and there's a different director, which of course as actors we're used to experiencing that's what we do, it's a different experience.

Everything is entertainment; criticism is now entertainment and it seems that the French directors have woken up one day and suddenly realised that they were not backed up any more.

Every time you say yes to a film there's a certain percentage of your yes that has to do with the director, a certain percentage to do with the story, a certain percentage with the character, the location, etc.

Every time I was cast in a role, the director put a gun in my hand, so I figured I’d better learn how to use one. Then I found out I really liked it.

Every time you start a movie is to explore with a director and if you can with the actors and with the other collaborators and try to figure out what's the best way to tell the specific story.

Every time I feel that I really hit critical mass and I'm in the right place is when I feel like the director and I become a third thing, and that's the character.

Every time I work with a European director, I find they hire the person that captures the spirit of the role. Americans tend to hire the best face. The person that looks more like the role, whether they can perform the role or not is a bonus.

Fifty-percent of the director's job honestly is casting the movie well.

Existence for eternity could get a little boring... especially towards the end.

Favourite directors change, like favorite authors. I had a passion for Gide and Stein and Faulkner. But now they're no use to me anymore. I've assimilated them - so, enough, they are a closed chapter. This also applies to film directors.

Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.

Film works when a director and a star have a connection. You know, when there's something telekinetic between them, there's a partnership, it's like alter egos. It's like James Stewart and Alfred Hitchcock, or Fellini and Mastroianni. I'm not comparing, I'm just saying, if you can come into a relationship where the director and star have such a bond, it's so much easier to make a movie.

Film's hard when you don't have any relationship with the director at all and you just show up. Then you really are just a gun for hire.

Farmiga proves as fearless a director as she is an actress. She lights up Higher Ground.

Fathering is a major job, but I need both things in my life: my job to be a director, and my kids to direct me.

Filmmaking is a creative process so there is a lot of collaboration that happens on set between an actor and director, but at the end of the day, we're there to actualize the director's vision and things happen organically.

Film buffs who don't live in Hollywood have a fantasy about what it's like to be a director. Movies and the people who make movies have such glamour associated with them. But the truth is, it's not like that. It's very different. It's hard work.

Film is the manipulative medium par excellence. When you think back on the history of film and the 20th century, you see the propaganda that's been made. So there are moral demands on the director to treat the spectators as seriously as he or she takes himself and not to see them merely as victims that can be manipulated to whatever ends they have.

First, there has been a lot of interest in The Drive-in, but, alas, it hasn't actually come to fruition. Maybe soon. Don really got Bubba and I didn't think it could be a film. I thought it was too odd to make it to film. He asked me to do the screenplay, but I declined. I didn't see that it could be a screenplay but he wrote one and proved me wrong. He was always considerate about what I thought about the film and the story's presentation, but in the end, he's the director and he had to make decisions. All good ones.

[Fifty Shades Darker director] James Foley directed Fear. And that's what I love about this film, because it has a real sexy thriller element about it.

For me, a director is a director immaterial of the gender. At the end of the day, the audience is only interested in watching a good film.