Best 1750 quotes in «directors quotes» category

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 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.

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.

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

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

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.

If Quentin Tarantino is your writer-director then you're going to learn the words and your gonna learn why they're the words. You're gonna learn why they're the best words to say.

If someone suddenly lost their director the day before shooting and wanted me to step in, I'd be willing to. But I'd do brain surgery the same way. I'm always up for something new.

If someone were to hire me for a film they'd be getting a certain kind of package, that's for sure, a certain set of tools. But I would listen to the director.

If the director's a communist, whatever, he's a communist. All I care is that he directs. For the actor, the same thing. All you really care is that he comes in and performs.

If the director of the department doesn't even know what the privacy policy is, we are in trouble.

If the director says you can do better, particularly in a love scene, then it is rather embarrassing.

If there is one thing that, as a director, you don't want to be a part of, it's a group. It's the same thing with music. I don't want to be a part of a scene. Just leave me alone. It's just my nature, and it's nothing against the people that are in that group, but I just like to be left alone.

If there's any relevant influence we may have with an investor, with a studio, with a director, with an actor, I think we have to fight.

If the script's good, everything you need is in there. I just try and feel it, and do it honestly.

If the United States is to produce a nation of investors-as we must if we are to gain financial world-leadership-it is imperative that boards of directors be so constituted as to adequately represent the interests and inspire the complete confidence of investors of moderate substance.

If there's a criteria that really gets me interested in a work besides any type of personal interaction with the theme, it's if I feel like this is the right piece of work for that director at that moment in their career.

If you are able to see on a monitor what it's actually going to look like and have that kind of feedback informing your decisions, then you're bringing back a lot of the decision-making process of the designer, the director of photography and the director away from the post-production process and bringing it back into the actual capturing of the event on film.

If you are at odds with the director, neither one of you is going to get anywhere. You really do have to be able to make both of you happy.

If you are the writer/director especially, no one cares more about the project than you do. You know it in and out. You created it. So always listen to input but don't be afraid to veto and fight decisions that you know instinctively are wrong.

If you don't take it personally, the partnership between producers and directors is very intimate.

If you don't have a brilliant screenplay, then you either have amazing actors who give you the chance to improve whatever is on the page, or an interesting director who has enough faith in the project that they can carry it through and get it somewhere. One of those factors needs to happen. If not, it's sad.

If you do well as an actor, a good director will pick up on it, and keep it in the film.

If you didn't get it right and then you have to release a director's cut to undo what the studio made you release, I don't know, either it's some marketing thing for them to get more money or the director didn't do his job.

If you knew my wife, you'd be like, "Yeah, you're very married." She runs the household. I refer to her as "the greatest director I've ever worked with.

If you have a script that's not great, if you have a great director, you can make a great movie, but if you have a great script with a director who's not good, never are you going to have a good movie.

If you're a movie actor, you're on your own - you cannot control the stage. The director controls it.

If you're a director, your entire livelihood and your entire creativity is based on your self-confidence. Sometimes that's dangerously close to arrogance.

If you look at the types of directors out there, I'm not as weird as most of them.

If you're a casting director, you're going to be curious to see what Timothy Spall's son is like. But when you get in the door, you have to have something to offer.

If you're not grown up enough to understand that a trailer is not done by the director, then fine. Judge the movie from the trailer.

If you're sounding right, you're probably walking right, and vice versa. If you get the footwork right - if you get even one line right in a rehearsal, the director will say, do you know when you said that, it was exactly the character. You were - really landed on it.

If you're working with a director you trust, you can turn that part of you off that wants to direct other actors in a certain way.

If you see, as I do, in edited film, you're going to end up as a director.

If you talk about big trends at Disney, these movies generally are generated by directors or directorial teams pitching ideas to John Lasseter.

If you talk to any director, they'll say music is fifty percent of the movie.

I get involved with projects based on three parameters - the script, the actors involved and the director.

If you want to be a great director, be a great screenwriter.

If you work in casting, it's sort of not cool to want to act. A lot of people think that casting directors are frustrated actors, but it wasn't true with any of the casting people I knew.

I get to meet different directors and different people.

I guess the story that best defines us [with Bud Yorkin] and our relationship goes back to the [Dean] Martin and [Jerry] Lewis show. The four stage managers on that show became major TV creators and directors - John Rich, Jack Smight, Arthur Penn and Bud Yorkin.

I got nominated for my second film as best young director in the Aikido Film Festival in Japan.

I guess I probably see myself as a director. If I had to choose, I think that that's the aspect of the process that I'm most excited by.