Best 1750 quotes in «directors quotes» category

Everything is the director's fault - you can quote me on that. There are no excuses.

Every time I feel that I really hit critical mass and I'm in the right place is when I feel like the director and I become a third thing, and that's the character.

Everything is entertainment; criticism is now entertainment and it seems that the French directors have woken up one day and suddenly realised that they were not backed up any more.

Every time you say yes to a film there's a certain percentage of your yes that has to do with the director, a certain percentage to do with the story, a certain percentage with the character, the location, etc.

Every time I work with a European director, I find they hire the person that captures the spirit of the role. Americans tend to hire the best face. The person that looks more like the role, whether they can perform the role or not is a bonus.

Every time I was cast in a role, the director put a gun in my hand, so I figured I’d better learn how to use one. Then I found out I really liked it.

Fathering is a major job, but I need both things in my life: my job to be a director, and my kids to direct me.

Every time you start a movie is to explore with a director and if you can with the actors and with the other collaborators and try to figure out what's the best way to tell the specific story.

Farmiga proves as fearless a director as she is an actress. She lights up Higher Ground.

Existence for eternity could get a little boring... especially towards the end.

Fifty-percent of the director's job honestly is casting the movie well.

Filmmaking is a creative process so there is a lot of collaboration that happens on set between an actor and director, but at the end of the day, we're there to actualize the director's vision and things happen organically.

Favourite directors change, like favorite authors. I had a passion for Gide and Stein and Faulkner. But now they're no use to me anymore. I've assimilated them - so, enough, they are a closed chapter. This also applies to film directors.

Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.

Film buffs who don't live in Hollywood have a fantasy about what it's like to be a director. Movies and the people who make movies have such glamour associated with them. But the truth is, it's not like that. It's very different. It's hard work.

Film works when a director and a star have a connection. You know, when there's something telekinetic between them, there's a partnership, it's like alter egos. It's like James Stewart and Alfred Hitchcock, or Fellini and Mastroianni. I'm not comparing, I'm just saying, if you can come into a relationship where the director and star have such a bond, it's so much easier to make a movie.

[Fifty Shades Darker director] James Foley directed Fear. And that's what I love about this film, because it has a real sexy thriller element about it.

Film's hard when you don't have any relationship with the director at all and you just show up. Then you really are just a gun for hire.

Film is the manipulative medium par excellence. When you think back on the history of film and the 20th century, you see the propaganda that's been made. So there are moral demands on the director to treat the spectators as seriously as he or she takes himself and not to see them merely as victims that can be manipulated to whatever ends they have.

First, there has been a lot of interest in The Drive-in, but, alas, it hasn't actually come to fruition. Maybe soon. Don really got Bubba and I didn't think it could be a film. I thought it was too odd to make it to film. He asked me to do the screenplay, but I declined. I didn't see that it could be a screenplay but he wrote one and proved me wrong. He was always considerate about what I thought about the film and the story's presentation, but in the end, he's the director and he had to make decisions. All good ones.

For a director and a producer to be named on the writing credits is practically unheard of.

For a director, the most challenging scenes are the dialogue scenes.

For film, I audition just like everyone else, because it's a different set of casting directors.

For any director with a little lucidity, masterpieces are films that come to you by accident.

Force Majeure is a jolt. You won't know what hit you. Director Ostlund shifts gears from humor to psychological thriller with cunning skill.

For me, a director is a director immaterial of the gender. At the end of the day, the audience is only interested in watching a good film.

For any role, I pretty much always go to the script, first and foremost.

For many years, my favorite director has been the Japanese giant Akira Kurosawa.

For me, creatively, I'd suffocate if I played the same thing, over and over again. I want challenges. I want to sit down with a director and be like, "I've never done this before, but it's going to be exciting. It's scary, but really thrilling, so let's do it!

For me, the greatest kind of success that I've had on a particular project or in exploring a role does come through collaboration. I wouldn't want to do a movie where everything I do the director just says, "Good job" and I'm under directed.

For me, each film, each script is like a little journey in itself, and I'm reinventing the wheel. It's like how do I make this film. That's part of the pleasure and that's why I'm not a normal professional director.

For most directors, the scriptwriter is about as welcome on set as a member of the Taliban.

For my first movie, I think my first cut was like three hours, because when you first direct a movie, you want to keep everything. But I'm not one of those directors who falls in love with the stuff they've done. Already when I'm doing my first cut, I'm willing to cut out everything that is necessary.

For me, being a director is about watching, not about telling people what to do. Or maybe it's like being a mirror; if they didn't have me to look at, they wouldn't be able to put the make-up on.

For me to get to work with a writer-director over time in developing a project - my investment feels much more profound. I know that whatever is on the other end I'm going to feel that much closer to.

Frank Capra, Hollywood's Horatio Alger, lights with more cinematic know-how and zeal than any other director to convince movie audiences that American life is exactly like the 'Saturday Evening Post' covers of Norman Rockwell. 'It's A Wonderful Life,' the latest example of Capracorn, shows his art at a hysterical pitch.

Frankly, I was extremely jealous of his scenes with Zoe Saldana and I think it's totally unfair that I never got to do that. I will never forgive the writers and the director, for having put me in this position, to have to be watching that, rather than participating.

Frank Miller is more of a visionary than any director I've ever worked with, and he achieves that vision better than anyone I've ever worked with.

From John Huston to Fred Zinnemann and Richard Fleischer and all those great American directors.

From my experience as an actor, choreographer, action director, and producer, I understand the elements and the dynamics of being a film maker.

Get more women producers, writers, directors. Why should we expect men to do it for us? They can't

From a director's point of view, if I can create different characters which impress the audience, that's fantastic for me.

For us, as actors, and even for the director, it gave us a sense of authenticity to what we were doing because we were talking about Hollywood and we were in Hollywood.

Getting back in the directors chair - there's a sense of like doing something every year. It's not like riding a bike, you're always learning new things, you're gonna face new challenges and when you face new challenges you'll have an answer for them.

For 'Vicky Cristina Barcelona,' for example, Woody Allen is one of the greatest American directors, and we really had a very good working relationship. We understand each other really well. He gave me one of the best opportunities somebody has ever given me in my career.

Getting movies made is not as difficult as people think. Making movies is easy. You get a script, you get a director, you raise the money, you make the movie.

Getting the role in '300' saved me. I'd been out of work for 11 months after 'The Brothers Grimm.' Once the film came out and didn't do so well, the director Terry Gilliam blamed me for absolutely everything. It was pretty appalling, and I had started to wonder if I'd ever get another job again when I was asked to audition for '300.

Good, bad mediocre or whatever it is, if a director wants me in his movie, I take it as a compliment.

Good directors can bring certain things out of you, with their intensity or gentleness or sensitivity or understanding. They can make an actor feel he can do no wrong.

Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.