Best 1750 quotes in «directors quotes» category

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 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 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 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'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 write mostly as a director. That's why my screenplays are very detailed. So I get into the images I see. I like that.

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

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

Jamie Foley - he's a very different energy to [director] Sam [Taylor-Johnson]. The whole experience was actually quite different.

Joe Mantello is the uber director. I wrote him a card tonight saying basically, 'Will you adopt me?'

Judd Apatow is pretty good, both as a producer and as a director.

Just being hired by a great director is complimentary.

Kubrick was one of those directors who actually did practically everything in his movies. He actually directed, photographed, wrote, lit, edited - everything. A few people can be like that.

Larry Kasdan is a great director.

Let the child be the scriptwriter, the director and the actor in his own play.

Let's say [Warren Beatty] wants you to speak louder in a scene. He won't stop playing the role and say to you as a director, "Will you speak louder on the next take?" He'll say it as Howard Hughes: "I can't totally hear you. Why don't you speak up a little bit?" To kind of keep this rhythm going.

Many plays - certainly mine - are like blank checks. The actors and directors put their own signatures on them.

Long before I ever started acting, believe it or not, I always knew I wanted to be a director.

Lyrical lecture, word architecture, Rap director, the best in my sector. Microphone cool chief, releasin the smooth speech... I get nasty with a pen and some loose leaf.

Making a film, you're in a really dark tunnel and the only kind of illumination is the shared experience you're having with your fellow cast and director.

Making movies can be a creative exciting project for director and rest of staff.

Masood Ahmed brings to the position of director of external relations extensive experience gained in a range of senior positions in international finance and development.

Life isn’t happening to you; life is responding to you. Life is your call! Every area of your life is your call. You are the creator of your life. You are the writer of your life story. You are the director of your life movie. You decide what your life will be – by what you give out.

Look, a lot of directors were actors, even if they were unsuccessful actors which I think is helpful. I think it's a really helpful thing for a director to have experienced that. It helps you know how to talk to actors and how to get what you need from them.

Lucio Fulci is such a massively underrated director. Everyone knows him as the Godfather of Gore.

[Making movies is] 80% script and 20% getting great actors. There's nothing else to it.

Many of the museum directors who make an impact personally curate exhibitions.

Many times, when a director reads a script and wants somebody who says 'Far out', then they let me do what I want with it and that's usually more interesting for an actor.

[Martin Scorsese ] basically works just like any other director. You work the scene, you try to find what's best in it and make it work. That's what it was like.

Matching character and actor is what a good director does.

Maybe I'm too masculine. Casting directors cast in their own, or an idealized image. Maybe I don't look like anybody's ideal.

Maybe if we sit out for the next few years and let Clint Eastwood get a little experience, he's going to be a good director.

Miloš Forman is a great director; Jim Brooks is a wonderful writer and director.

Michael's Powell art director was a painter and they had a wonderful friendship and artistic understanding. Michael himself, in the way he designed his own house, it was always with bright colours. Very un-English!

Mike [Mitchell] brought me on as co-director, and eventually we ended up sharing a brain. It was overwhelming initially when I was working with departments I hadn't had contact with before.

More often than not, if you've got a good director and a good script you can't really go wrong.

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.

Most directors have one masterpiece by which they are known. Kurosawa has at least eight or nine.

Most films and directors lose their nerve and want to indicate [emotions] a bit more, to show that their story is clear. I'm not saying that's a good thing; as an actor its anathema to good acting, but to have someone with the confidence to say that should I be utterly natural and minimalist is great.

Most actors don't really have a director's sensibility. They have an actor's sensibility.

Most directors have little lists in their heads of people they really want to work with.

Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'