Best 1750 quotes in «directors quotes» category

The record producer is the music world's equivalent of a film director.

Therefore, when you see the end result, it's difficult to see who's the director, me or them. Ultimately, everything belongs to the actors - we just manage the situation.

There has never been a female director who has won an Oscar. There has only been one woman who won at the Cannes Film Festival.

There have been directors that I did not enjoy working with, but for the most part I realize that I have been unbelievably spoiled in my career because I have worked with some of the greatest, greatest directors ever.

There is a kind of thinking in the Church that wants to reduce the priest to a mere functionary, a managing director, where administration rather than doctrine and worship are to determine the form of the Church.

There is a magic thing called 'tone' in a film, that the director must master and maintain.

There is no point in having sharp images when you've fuzzy ideas.

There is too great a tendency (perhaps encouraged by popular journalism) to deal with the dramatic moments, forgetting that these are not always the most significant moments. ... To find the significant rather than the dramatic features of industrial controversy, of a disagreement in regard to policy on board of directors or between managers, is essential to integrative business policies.

The relationship between an actress and her director is often a very close one.

The relationship between an actor and a director is like a love story between a man and a woman. I'm sure sometimes I'm the woman.

The relationship to the director is becoming more crucial to me, making sure there are some common goals. I haven't been in the kind of position where my roles have been chosen for me, where someone says, "First we'll do this and then we'll do this," and it's all part of some master plan.

There's a bunch of directors that I really admire, and Australian ones as well. It would be nice to do a film at home.

There's a different set of writers and a different director for the films, but Marvel has turned it into a pretty spectacular job.

There's a kind of unwritten rule: Don't say anything at all, and everything will be fine. It's a producer's medium. The directors aren't there to make any decisions. They're not going to change anything.

There's a paraphrase about Orson Welles saying: "Great films are made by great directors and the rest are made by everyone else." I've been very lucky... before I start insulting the profession of directing, but I think a good director is everything and a bad director really is nothing at all.

There's good directors and bad directors. Some of the critics are really conscientious and really try to do what they can popularize the work or to explain the work and so on. And then there's the critics who just wants to make a reputation by attacking. Those are the ones I'm not keen on.

There's been a slow death in a way. On the positive side, there are films getting into the Academy Awards that wouldn't have, but on the negative side, financiers are now dominant and making all the decisions. I can't count the ways a director's vision is compromised.

There's a whole system in Hollywood where the director never speaks to the studio, but I like to engage them in a discussion. I listen.

There's nobody who loves being around actors working more than David Mamet, especially actors bringing his tremendous dialogue to life. I've never seen a movie director who was happier to be directing a movie than Dave.

There's no point in it unless it's a story that you really want to tell. It's a nebulous job. Unless you're doing it well, you're not doing anything. And there are a few of those. It's perfectly possible to be a passenger on a film set because if somebody else has written it, you can make nothing of that role and that's exactly what bad directors do.

There's no director who wants to portray cheese puffs with a certain color that's going to make or break the commercial, in his opinion. We don't have to do that, so I don't miss it at all, really.

There's no such thing as "an auteurist filmmaker." Every film directors is an auteur. We only make films that we do because we cannot put on clothes that don't fit us.

There's nothing really original. Alien was a B-movie. Five directors passed on it before me. Because I was into Heavy Metal, I read it, and thought, "Wow, I want to do this." I was on a plane to Hollywood in 22 hours. It was a B-movie and was elevated to an A-plus movie by sheer good taste.

There's nothing more important in making movies than the screenplay.

There's the argument that you can relate to someone who's completely unrelatable. In the way that a director shows you his imagination on a film, then I get to show you my imagination in a big dumb character.

There's something special about working with picture and adding music to picture that really takes you to a whole new level. It's always the director's picture first, and I'm there to help tell the story.

There's obviously something that feels very good about being with a new filmmaker who's very excited, but I also think there's something very comforting in a director who's been around a few times. Both have their pros and cons.

There's something mystical and wonderful about being in the room with the actual live performer s on stage that works. In film, it doesn't work so you're dependent on a great director to keep the thing moving along.

There's very few directors that know what that rehearsal's for. And often it's just about calming down the director. If he could see it or she sees it, she goes oh, it's going to be okay.

There's very exciting directors who haven't made a feature yet. That's what's cool about the job - the ever-changing landscape of people you could potentially work with.

There was a Russian director named Elem Klimov, who did his films during the communist days. They were constantly struggling with the authorities and to be allowed to express themselves. But he did one of the best war movies I've ever seen - it's called 'Come and See.'

There was a great director who directed a picture that I wrote who barred me from the set quite appropriately and said, "I'm sorry, Jim. When you're directing, you don't need to know everything. You need the illusion that you do." And, you know, and I WOULD be there behind him trying to signal the actors in, you know, in a way I wasn't even aware of.

There were movies that always made me want to be a director. You see brilliant scenes and the way the emotions were handled. I thought, I'd really like to do that.

There were many films made for both cinema and television, and in general I don't connect them very much with our books. I have one favorite: 'The Man on the Roof' by director Bo Widerberg, which was based on 'The Abominable Man.

The script, I always believe, is the foundation of everything.

The rule of thumb for a director or producer - which prevents them from just sticking their names on everything - is that you have to contribute substantially more than 50 percent of the character dialogue and story.

The script is what you`ve dreamed up - this is what it should be. The film is what you end up with.

The techniques of different directors are very different, and people have different ways of expressing ideas in film. I'm happiest when working with a director as I would be if I were an actor. I'm wanting to provide a really good performance.

The secret is you need a director who refuses to walk away and you need a director willing to put their whole career behind the project.

The similarity between the big directors I've worked with is that they allow the writer to find a way of doing what they want done without saying 'do it this way.' They describe what they want, then letting the writer figure out a way to do it.

The showrunner relationship in television is what the director relationship in film, there's really no more important relationship.

The theater audience is the ultimate teacher, instructing the actor on the degree to which he has executed both the author's and the director's intent.

The thing I loved the most about being art director was picking the photographers and working with them.

The thing about For Better or Worse is the only thing that made me an okay director for that is that I have a sense of humor, and it was supposed to be funny.

The thing I love about acting is that it's got nothing to do with me; it's about bringing forth a director's vision. It's like a release. I'm glad it's come back into my life.

The thing I love about working with first-time directors is that it's always quite shocking how little difference there is between them and directors who've been directing all their lives.

The thing is, I think as a director or a writer or whatever, you have to have a vision. And you have to be maybe sometimes too early, somewhere.

The thing about Hitchcock which is quite extraordinary for a director of that time, he had a very strong sense of his own image and publicizing himself. Just a very strong sense of himself as the character of Hitchcock.

The thing about movies is if somebody has an idea that works, it's in, and I say that as a screenwriter as well as a director.

The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.