Best 1750 quotes in «directors quotes» category

I was definitely incredibly close to my dad, in a way that was all-encompassing. I am close to my mum, too, but there were areas that she and I did not share. So his loss to me was huge, personally and professionally. He believed in me, not just as a father, but as a director, and that always meant a lot.

I was going to say we saw Secretary [Hillary] Clinton reported that she believes that she would've won the election but for the interference of the FBI director James Comey.

I was focused on The Hunger Games movie with my director, with the studio, and with the cast and crew. We all just focused on making the best possible movie we could, and earning the right to do more.

I was in good shape from Divergent. Damien Chazelle, the director of Whiplash told me, 'Stop Working Out! Don't go outside!' He wanted me pale and doughy. This is the first movie where I shut myself off from the world. It was, by far, the hardest thing I've ever done.

I was lucky that I was getting exposed to a lot of different kinds of films, and I was liking them all. So it seemed logical to me that you could - as in the style of the studio directors of the 30s and 40s - jump from one genre to the next, with the same satisfaction.

I was lucky to have my wife as the art director, and it turned out to be quite something - a great success. I'm very proud of it.

I was not born a size 2. I'm not skinny, period. I'm not willing to sleep with the director or step on somebody else's neck to get the job.

I was offered and accepted a part in 'A Few Best Men,' and then the Australian actor's union argued that there were too many British actors. And the director decided to lose me.

I was really fortunate from the time I arrived in Hollywood to work with some of the greatest directors from the beginning. I worked with Robert Altman, John Boorman, and of course Steven Spielberg, Michael Cimino, Brian De Palma ... I couldn't pick one of them; they were all different, but they are all so talented.

I was rejected by casting directors during the day. I attended class in the evening, then rode 90 miles on the train home.

I was six years old when I saw my first Godard movie, eight when I first experienced Bergman. I wanted to be a director when I was fourteen.

I was so disappointed [with movie Forsaken], but maybe I hadn't talked enough with the director. I don't know. But, Kiefer worked it out. Kiefer took it and re-edited it. I don't know whether he talks about that. He's probably more discreet than I am because Jon is a friend of his. Now, it fulfills what I was hoping for, and what we were working on and doing.

I was thinking what an interesting concept it is to eliminate the writer from the artistic process. If we can just get rid of these actors and directors, maybe we got something here.

I was very fortunate in having David Fincher, the director come to me. Now I've seen the finished product, I feel that every bit of the nine months we spent on the film was worth it.

I was thrown in the deep end at 18 when I got cast in a movie that I didn't audition for. The director just sort of found me and put me in a film, so the decision was really made for me.

I was well aware of that when I heard they were remaking 'Total Recall.' My first reaction was: 'Ewww, really okay?' And the director said you should really look at it, the script is good. I had already done a remake. I had just finished 'Fright Night.' When I heard about that being remade, I had a whole ego thing... remake?. 'That is so uncool! I loved the original, I can't possibly do that.

I watch movies all the time, so it's hard to pick certain specific directors that have inspired me in the aggregate.

I watched a couple of really bad directors work, and I saw how they completely botched it up and missed the visual opportunities of the scene when we had put things in front of them as opportunities. Set pieces, props and so on.

I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.

I went to meet Joe Johnston, the director, and he's charming. I've been very lucky. Most of the directors I've worked with are charming. But Joe's a particularly charming man, and he showed me lots of designs and, rather memorably, welcomed me to the Marvel Universe.

I went to do Eclipse right after The Runaways, and I think the director of that movie might have said to another cast member that he had to beat the Joan Jett out of me.

I went to Cal Arts and AFI, and I worked on 'Bonfire Of The Vanities.' I got this grant from the Academy to be Brian De Palma's apprentice director. And it was such a harrowing, disillusioning, awful experience.

I went without health insurance until 'Roger & Me,' basically - from about age 20 till about age 35. With 'Roger & Me,' I joined the Directors Guild and the Writers Guild, and since then I've had excellent health care managed by the union.

I will one day be thin, but Vincent Gallo will always be the director of The Brown Bunny.

I will say that I'm going to take full credit for this. I knew Josh [Hutcherson] was going to be a star. One of the things you do, as a music video director, is spot talent. Th at's one of my things. I don't just do random people.

I will work with a director who has good material because at the end of the day, that's what counts.

I wish I could say that when I didn't agree with a director I defer to him, but I think sometimes I'm a little self-righteous.

I worked with Roger Moore on three episodes of The Saint. He is a lovely man, a good director, and was my favourite actor to work with.

I worked with great, brilliant directors. I've been so lucky. It's terrible to compare anyone, because you can't. But I can just tell you that this experience was just a truly magnificent experience for everyone involved.

I worked with young directors all my life, only young directors.

I worked for John Ford, Howard Hawks, Henry Hathaway, Raoul Walsh - I worked for some real good directors.

I worked on three independent movies in close succession and I really learned from those directors how to stay on budget, make your days, get it done, keep everyone happy, which is a huge thing in a movie, and to steer the ship.

I would like - either as an actor, or producer or even director - to do something sci-fi or action-related. I like sci-fi, always have, 'Star Trek' and 'Star Wars' and all that stuff.

I would just say there are no two roles that are more demanding than Bob Dylan of 1966 [Blanchett's role in 'I'm Not There'] and Carol Aird of 1952. I challenge any director out there to come up with a wider divide. I had to convince her to take the Dylan role, and that took effort. But with 'Carol,' she was already attached.

I would be a terrible director, I could never write anything. One of my great strengths is that I know all of my weaknesses.

I would have never thought that I would hear myself saying that the president of the United States is afraid of the CIA. But he is. He's afraid of the NSA as well. How else to explain that the National Intelligence director, who lied under oath to his senate overseers on the 12th of March 2013, is still the director of National Intelligence?

I would love to be a fly on the wall watching other directors and actors to see what their process is like.

I would like you to consider the difference in the time from 1963 to date. The FBI, at that time, was headed by Mr. Hoover who had been appointed Director continuously. He had, I would say, a good reputation.

I would love to occasionally do English-speaking films, but the script is as important for me as the director.

I would never have become music director of the Chicago Symphony, which would have been an extremely sad loss.

I would love to work with Quentin Tarantino - he's my number one. My ultimate. I would love to work with Paul Thomas Anderson, Alexander Payne - Pedro Almodovar wouldn't be too shabby. There are so many good directors, but those are some of my favorites.

I would not like to direct, I would be one of those terrible directors who can't help line reading the actors their lines, because I would just want to be doing their parts.

I would not have made any of my films or written scripts such as Taxi Driver had it not been for Ingmar Bergman, What he has left is a legacy greater than any other director.... I think the extraordinary thing that Bergman will be remembered for, other than his body of work, was that he probably did more than anyone to make cinema a medium of personal and introspective value.

I wouldn't want to be just pigeonholed as an extravagant director.

I would really like to focus on directing features, and then eventually take that skill set back to television. On features, you have more control. On television, the producers are the creative forces behind it. Directors come and go on television.

I would say that maybe directors who act as well are easier with actors. I'm not saying that all directors have this, but sometimes you'll come across a director who sort of looks at an actor a bit like a kind of untrained horse that's been let out of the stable, like they might buck him.

I would've been intrigued by being a film director. I would've been intrigued by politics. I thought about architecture.

I would take a bad script and a good director any day against a good script and a bad director.

I wrote a script and I've been whispering in director's ears for a really long time and I'd love to direct.

I write music to please myself. Hopefully the director's enjoying it too.