Best 1750 quotes in «directors quotes» category

I have such amazing memories [about The Hotel New Hampshire movie], because Tony Richardson was such an amazing director, and the subject matter was so bizarre, and yet it was the most sought-after part at that moment. And then it had the good fortune to come out on the same day as Splash.

I have worked with another first-time director who was not that open, and it was probably one of the worst experiences I ever had, so my antennas are really out.

I have zero tolerance for people who don't come completely prepared. I expect contribution, I expect attendance, and I expect directors to take trips and visit the company's programs.

I have written screenplays. Most recently for Errol Morris, who was thinking about doing his first fiction movie, and with a young director who wanted to adopt Project X. Errol was a hoot. I loved talking with him. We were a good match, too, because we both kept joking that we'd found the only other person on earth more ambivalent than we were about the project.

I hooked up with director Jacques Audiard for this film called 'Rust & Bone' with Marion Cotillard. I loved that experience so much I'm truly sad that it's over!

I imagine as an axiom you could say that the better the play, the less "creativity" the director need exert.

I joke around sometimes and say that the DP [director of photography] is like a shrink for the director, but there's some truth in there.

I just do things because I fancy the parts and the directors.

I just realized that I need to be a director - for two reasons. One, directors were already my heroes at this point. I wanted to; when I wanted to be an actor I wanted to work with this director. Not work with this actor, I wanted to work for this director.

I just think there are a lot of celebrities who don't feel that they have a voice. A lot of actors come from a place of fear, and that's just a general statement about actors. You're terrified the casting director won't like you, you're terrified the producer won't like you, you're terrified the director won't like you, and on and on.

I just want to do everything. As broad as that seems, it's kind of the plan. There are so many different genres out there to do, so many different characters to play, so many different amazing actors and directors to work with. I'm just following my gut, and if it's speaking to me, then I'm doing it.

I kind of have an interest in all history. And I suspect it comes from being Irish - we like stories, we like telling stories, which makes a lot of us lean towards being writers or actors or directors.

I kind of end up getting caught up in whatever the rhythm of the movie is and how open the director is to changing things in the moment or finding it in rehearsal.

I knew that's where I was going. I knew we were going to Italy. You couldn't make this movie in America at this price. I knew it was going to be big. I knew there was going to be a ship involved and that there was going to be a set as big as the ship. I thought, well, here we go. But I knew that was where he was headed. He had been going this way for some time. All directors, once they have some success, they want to spend a whole heck of a lot of money. (Something else can't hear.)

I knew that [director/screenwriter] Catalina Aguilar Mastretta had an amazing take on the female psyche and the modern woman and the modern immigrant woman living in the U.S., and I really saw the need for a story told of our daily lives without being a statistic and without just trying to hit a demographic, and I felt that with this one.

I knew [Jesse Owens'] name, but I really didn't remember what it is he had done, so I felt like I had to get refreshed. So I read the script and I realized like, wow, this is an incredible human being. I told my manager, however I had to do it, let me see the director; I got to play him.

I know that I've definitely found what I should be doing with my life. In my life, as far as my career goes, I always felt, as an actor, that it was something that would just be a temporary thing that would get me to what I wanted to do next. That's what my acting did. I really feel that I'm a much better director than I was an actor.

I know that some actors and directors like to have intensity on set. I don't, particularly. Certainly, if they want that, that's fine, but I can't work like that.

I know you can't see it, not you, Ed, but maybe if I tell you the whole plot you'll understand it this once, because even now I want you to see it. I don't love you anymore, of course I don't, but there's still something I can show you. You know I want to be a director, but you never truly see the movies in my head and that, Ed, is why we broke up.

I learned a lot from Clint [Eastwood], who's an extremely economic director. I learned a lot from Michael Winterbottom, who really gave a lot of trust in the actors and allowed them to live in the space instead of trying to manipulate and make it too set and too staged. Working with [Robert] De Niro taught me a lot of being an actors' director and what that is. I've learned a lot from pretty much everybody. Hopefully I've picked up something from everybody I've worked with.

I learned that you really don't have any control as a writer. Waah, waah, waah. Big deal. Unless you're the director on the movie, or putting up the money for the movie, you really don't have a lot of control. As someone who's just writing scripts, you just kind of have to shrug. I have no problems or issues with screenwriting in general. It is what it is.

I like a director who is very observant and is watching what I'm doing and noticing what I'm doing, but is giving me time to figure it out. They don't jump right in and give you a note before you've had time to really search on your own with how to do a scene.

I like a director that encourages me to be playful. I don't really like being restricted or controlled by a director.

I like, as a director and a spectator, simple, direct, frank films. Nothing disgusts me more than snobbism, mannerism, technical gratuity... and, most of all, intellectualism.

I like doing commentary. As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things. I often like the technical commentaries myself.

I like directors that give their composer a juicy role in their films. Some films have a small, minor role for music, some have a larger role.

I like bold directors. I like directors that go against the norm in a way.

I like directors who come on the set and create something that's a little dangerous, difficult or unusual.

I like great directors who are scarce. Prolific ones are nice too but for me, there's something about the scarcity that makes it all the more valuable.

I like working with different directors; it keeps you on your toes.

I like the conscious manipulation that a great director can have. When you're both complicit in the manipulation of an emotion.

I like the old school heavy metal bands like AC/DC and Aeromith. I like that type of music. As the director, I tried to influence the type of music the bands in the movie would play.

I like to think of myself as a fairly educated human being, but I'm a very uneducated actor when it comes to movies, directors, producers, actors for that matter.

I'll be in #‎ Jharkhand along with Kaustav Narayan Niyogi, who is directing the film and my director of photography for location hunting. I want to lock the locations before Christmas as everyone goes into vacation mode after that.

I like meeting directors. It can be helpful because sometimes when you meet filmmakers you find out if you like them and if they like you, and that is important in terms of considering a role. Choosing a role is all about whether I relate to the role and the story really. That's the criteria.

I like to be cast well and then I like to be left alone. And good directors, that's generally what they do when they hire you because you have something that's useful to the part, and then they leave you alone. The times that I've run into trouble is when, very rare actually, but you get hired and then there's some sort of makeover involved.

I'll always be attached to telly in one way or another, whether it's a character or producer or director, I just love the medium.

I look at life as being cruise director on the Titanic. I may not get there, but I'm going first class.

I look at the script first and who's directing it and then talk to the director to find out what his vision of the movie is and if it matches my vision and then we go after it.

I look for a director with a script he likes a lot, but I'm probably after the directors more than anything.

I look for something that grabs me and that's heartfelt, and that's coming from a good place. I want to work with good actors and with directors that I can learn from.

I look at the stories that Spike Lee tells... Great stories. Great director, great storyteller.

I look for the character to be something interesting, the script to have a good story and be original, and a director that I admire.

I love Ben Affleck so much. He's an amazing director.

I love being on sets with very seasoned directors as well as very new directors. Every time is a discovery process. You learn something new every time.

I love British female directors lately.

I love being on set, because I've basically grown up on a set. And now I love to contribute as a director and help steer the ship, if you will.

I love animals. With animals you never know what you're getting. Everybody says don't mess with animals and little kids in movies but those are the funniest things because you can't be in control. I like to lose control as a director.

I loved cinema while growing up and, for the longest time, wanted to be a director.

I love doing big movies. It's awesome! You have all these toys. The thing I like about this movie is, like they always say, directors have the biggest train sets! Don't tell anyone, but I'd do this for free.