Best 1750 quotes in «directors quotes» category

I don't think it's a director's job to peek behind the curtain too much.

I don't think it's a prize when actors and directors or writers and actors work together more than once. You have a trust and a shorthand and a lot of times you even reach the point, where in the process, you don't even have to talk.

I don't think of myself as a director or writer. I think of myself as a filmmaker.

I don't think you can be a director without a kind of sense of competitiveness.

I don’t want to be an editor! I don’t want to direct; I’d be a horrible director. I don’t want to write - I have a “story by” credit on one film I did. And I don’t want to edit at all.

I don't usually see what I've done. I don't often watch the film or watch the show. It's really about that experience on-set and within the scene. Because later, when the film comes out or the show comes out it's the editor's realm or the director's realm. But that moment on set, that's that electricity between me and another actor, and that's really what excites me.

I don't want to infantilize the actor; I want to empower the actor. Actors can be many things, but all of the really good ones are really great storytellers, and I'm interested in that. If you're not interested in that as a director then you better be Stanley Kurbrick.

I don't watch the movies I make, so I haven't seen 'Footloose' since it came out. You see this young, hungry actor, it's pretty fun. I was the only one they screen tested. It was an attempt by the director and producer to talk the head of the studio into hiring me because they didn't want me.

I do think that's so much a part of what being a director is - in working with actors - to really try and be sensitive to what each actor needs to get to where he wants to be.

I doubted that there were Communists hiding behind every corporation desk and director's chair.

I do think that we are sometimes, as directors, guilty of portraying or asking our actors to behave in certain ways that are perhaps not very morally acceptable. I'm not the only one.

I enjoy looking at words on paper and visualizing how to make them come to life. As a director, the creative process is really amazing.

I even think the commercial element of new American directors is really fertile right now. There are a lot of filmmakers with very particular visions, like Sofia Coppola and Wes Anderson and P.T. Anderson and Alexander Payne and Peter Sollett and Harmony Korine and Vincent Gallo. At least they're making films that they choose to make, and they're on their own. That's positive to me. This is not a dead period for American cinema at all.

If a director takes the time to document - to step back to observe - I think it I more honest. Because it has to be the public that makes the conclusions and who, possibly, resolves the situation.

If a film is very clever and well-written, that's what gives you freedom as a director.

If a director, I believe, has vision and knows so clearly what they want, then you can have a film that can perform. Whereas you can have done 50 movies, but if you're unsure this time, your movie may not turn out.

If a director can find the exact combination between the written word as a guideline and improvisational input from his actors, I think that's where you'll find the most successful work being done.

If all the world's a stage and all the people players, who in bloody hell hired the director?

I fall in love with every film while I'm doing it. I fall in love with the directors, I fall in love with the process. I don't think I could do it otherwise.

If being an attractive woman got you attention for directing, then the entire best director category would be comprised of models. To me, that is just the most ludicrous connection that you could make.

If [Donald] Trump wins narrowly, Democrats can blame the loss on FBI director James Comey, who inserted himself late in the campaign in an unprecedented way.

I feel fine, I don't care who the director is. All you have to do is know what your doing - all of us - everybody in the business - that's all you ask anyone - you know your job, I know mine, let's go do it.

I feel fortunate. I've really gotten to work with amazing talented people, and to learn from them, which is why I'm doing this. If I can work with the best director I'm going to do it.

I feel I should defer to the writers and the directors because theyre the ones who have the complete vision. They see things through from the beginning to the end. Im responsible for one small part, so my scope is much more limited than theirs.

I feel like a good director provokes you to ask questions about your character, but doesn't answer them for you.

I feel like actors, having spent a lot of time on movie sets, tend to make decent directors, because they've been there, they know what they're doing, they've seen it done right, they've seen it done wrong, and they feel comfortable. There's not a lot of chin-scratching and wondering what your next move is.

I feel like a lot of the young actors that are just coming up are really good. I think directors are directing better.

I feel like, if I'm being honest with myself, my biggest skill set is as a writer 'cause I can do that quickly and I'm really grounded in story structure. Part of my success as an actor, is that I know story well. Part of my success as a director, is how well I know story. Same thing, as a producer. It all begins and ends with me as a story creator. But, I love doing it all.

I feel like I've had a really great intense relationship with every single Director I've ever worked with. I can't say there's one that hasn't been deep and profound in its own way.

I feel like this is the way I was meant to interact with acting. Which is as a director, and helping, working with actors to find their way. Facilitating their performances is so satisfying for me.

I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter.

I feel that directors at times are like the janitors on the set. I am the secretary, I am the organizer, I am the maid, and I ask if they have eaten or rested. The best things are always out of your control. It's those moments that surpass the imagination that are thrilling.

I feel that the critic and music director should have such a good relationship they can pick up the phone and call each other any time.

If everyone's comfortable, you can pretty much make any kind of movie that the director wants.

If I am creating the shots from scratch I may have to spend more time holding the directors hand and therefore have less time to finesse the shot or the lighting etc. but it really all depends on the project. Some films benefit from their spontaneity.

If I feel the part is right, and I know that the producers and the director want me, I'd go for broke. Always.

If I get lucky and I can choose, I would always choose a really good story and screenplay, even if I don't know the director. If there's a good screenplay, there's a chance that something good is going to happen.

If I had not been successful as a director, then I'm sure I would still be telling stories. I would have continued on 16mm or found a different medium through which to tell them. Maybe they would have been less glamorous than films, but I would continue to tell stories.

If I'm a director and I read a script and I say yeah I really want to do this, I would never walk away because the deal wasn't very good - that I wasn't getting paid very much or that the chances that I would see anything on the back end were remote because of the financial waterfall and the way it's structured. I would never use that as a reason not to do something.

If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.

I find it easier to play someone who is so far from me because you create someone - you build this person based on the story and the script, with the director.

I find that in the process of making a film you're constantly discovering things that you never even imagined would work at the beginning. Actors come into the film and do things you never even imagined. Production designers come in, the director of photography lights it in a way that you never imagined. So, it's always evolving, always exciting.

I find that all great directors, and I would include Ben Affleck and Clint Eastwood in that, they have great confidence. And with great confidence comes great freedom for the actor.

I find that what doubt does, or fear, is it makes you come up with as many ideas as you possibly can. And on film that works 'cause you're then handing over that fear to the director, who has to make sense of all those options!

If it were up to the executives, they probably wouldn't have directors at all.

If it gets to the Supreme Court, I'll have the directors of every museum in the country as expert testimony that my work is legitimate art.

If I weren't a director, I would want to be a film composer.

If I were in the director's chair, I would cast [Geena Davis] in something awesome every six months if I had the choice.

If Martin Scorsese calls, I am available. And then there the ones, well, you can just run down the list - any of those Oscar-nominated films, they have amazing directors across the board.

If mutual fund directors are independent, then I'm the lead character in the Bolshoi Ballet.