Best 1750 quotes in «directors quotes» category

When I was a crusade director in British Columbia, all of our meetings were at 9:03. Somebody said 'That's ridiculous. Why did you do that?' It's because you remember it. You've never been to another 9:03 meeting.

When I was a producer, the fun of the show was waking up with a hit and enjoying the period after the show opens. The fun of a director stops the day it opens. No matter if it's a success or a failure, it's not a whole lot of fun anymore.

When I was a young stunt guy the director would say: "You're useless..." But I wanted to be the best, I wanted to be a super stunt guy. That's how I built myself, because of martial arts and everything.

When I was in college, my brother, B.R. Chopra, who is everything to me, was a director in Bombay. He taught me filmmaking. What I am today is because of him.

When I was starting as an anime director I wanted to be known for great things. I never wanted to be known for some overblown toy commercial.

When I was the director of Central Intelligence in the early '90s, I tried to get the Air Force to partner with us in building drones. And they didn't want to, because they had no pilots.

When I was shooting with Tarantino and Mike Mills and amazing directors, it made me think that I would never be a director. It's obviously too hard.

When I was nine years old I use to copy ( not trace ) the covers of the Donald Duck comics. Many years later I became a close friend of Jack Hannah, the director of the Donald Duck film shorts.

When I was very young I wanted to be a professional horseback rider. Then I wanted to be a pop singer. Then I wanted to be a psychiatrist. Then I wanted to be a movie director.

When I was younger, I would mess about and have a laugh with everyone. I was doing Atonement when I was about 12, and as we went to do this very serious scene, the director Joe [Wright] came up to me ... I'd been giggling right up to the beginning of the take. And he came up to me and said, "Okay, you need to be serious now." I completely idolized him.

When I worked on Altar Boys, they wanted to see us having fun. The four of us would have fun on set and steal each other's lines, and mess with the director.

When I work, I work very hard. So I look to work with people who have that level of dedication. And I depend on that from everyone. From the director to my crews that I work with.

When parents watch scientist after scientist describe the dangers of GM foods, I wouldn't want to be a stubborn food service director trying to stand in their way.

When Shana Alexander interviewed me for Life magazine in 1952, she gave up after 4,000. At one time or another, I've worked for every studio in Hollywood, for almost every director with most of the actors and actresses.

When somebody who makes movies for a living - either as an actor, writer, producer or director - lives to be a certain age, you have to admire them. It is an act of courage to make a film - a courage for which you are not prepared in the rest of life. It is very hard and very destructive. But we do it because we love it.

When tradition is thought to state the way things really are, it becomes the director and judge of our lives; we are, in effect, imprisoned by it. On the other hand, tradition can be understood as a pointer to that which is beyond tradition: the sacred. Then it functions not as a prison but as a lens.

When you are completely satisfied with what you have made, you're pretty much done as a director. So when that happens, that'll sort of be the end.

When you are shooting a movie, you have to collaborate with many, many, many people. First of all, the director with all his own ideas and I can only just help him with that. I cannot change his idea.

When you are doing stand-up comedy, you are the writer, producer, director, sometimes bouncer.

When you do a rewrite, it's really about serving the director's vision, and what the director needs to go into that script.

When you do improv, you're everything. You're a performer, writer, and director, because you're moving the scene in the direction you want it to go, you're making it up as you go, and you're acting it.

When you look at the early-'30s movies, like King Kong, the codes of acting are very similar to those of silent movies. In some of the silent movies - the good ones, the ones done by the best directors - the acting is very, very natural

When you first get out of doing a show for a long time where you played a teenager, casting directors and producers all still look at you as being the character that you played for so long.

When you do a movie, it's like going on a journey. It's really like the director is the captain of the ship, and that energy, everybody feels.

When you grow up in the [film] industry, the director is your father. You follow your father's lead, but you make your own way.

When you look at a movie, you look at a director's thought process.

When you're acting, you're subjective; when you're a director, you're more objective.You're kind of watching from the outside and helping others, and therefore I learn my mistakes through others, and also my assets through others.

When you're a director you always feel weird with another director watching over your shoulder.

When your characters are really living they tell you what they do.

When you're a director, for two years or at least a year and a half, that's what your life is. So if you're gonna do it, you gotta be ready to do it and it has to be something you care about. I've found something that I do care about.

When you're a lead role, I'm learning that you set a tone for the movie in a way, like a director does, or like other actors do. But it seems like you set a mood on set.

When you're a screenwriter, it's like being a mechanic. You open the hood of the story, the director is the driver, and he says, "What do you think? It's a little tough.

When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while keeping the established tone and the pace and the characters.

When you're artistic director of a program, you present the music you want to present.

When you're in sync with the director, on the type of movie you want to make, the arc of the characters, how the characters intertwine and interact, plotlines and story, and things like that, it really makes a difference.

When you're a producer or director, there's so much sweat that goes into any given project.

When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.

When you're making a television show, it's about the story and arc of the show rather than any particular episode or director.

When you're the director and the writer, you never have to remember your lines, and there's no one to call you on it. On Garden State I did different lines on every take, just making crap up. And it was great each time.

When you're on stage with an audience, the director's nowhere to be seen. He's onto the next job.

When you're really working well with a director then you can be as outrageous as you like and so can he. And there's no worry about it.

When you see the films of certain young directors, you get the impression that film history begins for them around 1980.

When you're not gaping at Megan Fox enough to listen to what the director's saying, you can get some work done.

When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.

When your set is led by a great guy and visionary like Director Tim Miler and a true superstar talent like Reynolds who's so easy to connect and improv with it allows it to be a lot of fun along the way.

When you shoot a film, when it was film, there used to be rushes and normally a director would look at them the next day. All directors look at the rushes, except for Fellini. I asked him why he didn't and said, "Because it interrupts my fantasy." What he was trying to say was that he had a three-dimensional, vibrant, living, volatile fantasy going on in his head, and when he looked at rushes, they were two-dimensional and they killed it.

When you start a new project and they say, "Your director is going to be Joe Blo," you're hoping that Joe Blo will be the next Martin Scorsese, but it doesn't always work out that way.

When you trust your director completely, then you can relax, be spontaneous, be malleable.

When you work with someone you don't quite know, you have to figure the director out and you can come up with ideas that are counter-productive.

When you work with a great director, you realise you are far from being a director.