Best 1750 quotes in «directors quotes» category

You can make five massive hits in a row and still not get cast by the directors who you want to work with doing little movies.

You can make five massive hits in a row and still not get cast by the directors you want to work with, doing little movies. There are no guarantees. I'm trying to sign up and do movies that I'll be proud of, if it's my last one. That's how I think about it.

You can only have one voice on set, and that has to be the director.

You can't fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.

You can't fake comedy - it's not like a movie, where a director can just cast a pretty face.

You can't have a director say, "Just be you"; you have to have an aim. It's like when you throw darts, you have to know where the bullseye is. You can't just say, "No no no no no, drop the darts. Just stand. We're going to film you." You have to get there indirectly. You have to have me doing something, and then you can get "me.

You can't rely on the approval of others. I used to always look for praise from my directors to reassure myself that I was doing a good job. I don't do that anymore.

You can't see any movie nowadays really without it having some sort of CGI treatment, albeit whether it's a creature or an environment, something like that. To make a point, sort of poetically in that case, but clearly it was a drama and how do you approach it? Well, I think what you're supposed to do is what the text dictates. What you bring to it and everything you need to know should be there, and pay attention to your director.

You come up with a story line, you hire the writer, the director, the stars, the set designer.

You don't even need the director's judgement. It's too much.

You don't have your film finished when you have your director's cut finished. It's just a bunch of green screen.

You don't pick black actors or black directors because they are black. You pick them because they are good. If you lend somebody 50 million dollars you want you're money back. You don't care if they are oppressed. You just want you're money back.

You don't really audition for Hamlet; Hamlet is one of those roles that a director or producer decides you should do it.

You dream as an actor's director of letting moments breathe through two-shots.

You don’t want to ask after the health of anyone, if you’re a funeral director. They think maybe you’re scouting for business.

You either are a good director or you're not.

You evolve in the ways in which you are precious. When you are the director, you are also continuing to write on the floor as you go along.

You get spoiled as a novelist because you get to be the director and the editor, and you play all the parts, but as a screenwriter, you are a bit down the ladder.

You have always had individual directors who begin in the advertising or commercial world, but they are probably exceptions rather than the traditional pattern.

You have to be strong to be a carpenter, maybe, but the director of a film doesn't need to have muscles.

You have to have the essential pleasure of making a movie. It's such a huge factor and adventure for a director because you really are the leader and the captain.

You have to really be able to trust the director. It's about the filmmaker and whether or not I'm going to be able to have a relationship with them and want to follow them down that road, wherever it may lead.

You have to remind casting directors out here that you don't just do one thing. There's a lot of people who do just one thing.

You have to move really fast, as a director in television. If you're able to keep things moving on set, everybody has more fun, and when everybody has more fun, the end result is funnier.

You have to steal a lot. You have to have a criminal mentality to be a film director.

You hear again and again that audiences want to see movies that are different and critics say we [directors] make the same thing again and again in Hollywood, then you go and make something different and you get kicked in the gut for it.

You hear stories about directors using manipulation to get actors to do certain things, but I think when you're working with professional actors, it's all about trust. They can do anything you want, it's just a matter of them understanding what you're looking for, and the reason why.

You have to take away the idea that something you do is right or wrong. I don't think there's a right or a wrong; I think there's an "it works" or "it doesn't work" for the whole. And that's why you need a director you trust, so you can just keep throwing out suggestions.

You hope and pray that you'll get involved with a director that you understand and who has the same sensibility as you do and knows how to push you and bring out the best in you.

You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie!

You know, as director of the CIA, I got an awful lot of intelligence about all the horrible things that could go on across the world.

You know, I became a director out of necessity. I was writing comedies, and I couldn't find anybody to deliver it correctly.

You know I want to be a director, but you could never truly see the movies in my head and that, Ed, is why we broke up.

You mustn't look at a film with only one point of view.

You know, making an animated movie is such a lonesome thing. You mostly don't see your fellow actors or anything. You go into your booth, you record all your dialogue. It's very much an issue of trust. You leave it all up to the director.

You know, there are a lot of directors, like Clint Eastwood (on Changeling) is one where he casts you and you know in many ways that's enough for him and so, you go, ok, well, he saw something. Ok, what is it that he saw? What is it that I brought to this and why am I right for this and not trying to double-guess it and get in your own way and get psyched out, 'cause he trusts so much.

Your audience gives you everything you need. They tell you. There is no director who can direct you like an audience.

You never want to be the director who dropped the ball, you know?

You really have to bring your game and know what you want to do. And then, there are the producers and the writers and the director on the other side of the glass, and what they want. You have to be malleable to what's going to work, and you have to stay in the framework of the context.

You realize as a director that when you are cutting a film, you want to have alternatives. You need color and choices. You don't want four takes that are identical.

Your crew becomes your family and you trust the director and the other actors on the set, and it's a very safe place.

You're in the business - when you're a writer, producer, director - to get ratings.

You risk working with this director, you risk making this movie, you risk working with another actor you don't know. It makes your heart beat faster. And it keeps you interested.

You would be surprised how many directors don't know what they want. They might not know what they want until they see it, they might know what they want but no idea how to get it out of the actor, then you've both got a problem.

You talk about what a director, he was smart. He said, Turn the camera on!

You've got to be flexible. Directors do a massive amount of planning and homework, and if after all that your director decides to throw it all out of the window and shoot spontaneously, then you must follow his lead.

You want the film to be critically successful - you certainly want the film to be financially successful so that you can...well, because that's how movies like this are made, you know, they need to make money. But as a director, you can only make the movie that you want to make.

You will never see'Altman's Great Film of the Seventies: The Director's Cut' because you have never seen a film of mine that wasn't the director's cut. I have never permitted it.

A CEO is a board of directors personified.

Morris Weissman [on the phone, discussing casting for his movie]: "What about Claudette Colbert? She's British, isn't she? She sounds British. Is she, like, affected or is she British?