Best 1750 quotes in «directors quotes» category

I used to put that I studied with Stella Adler on my resume. I never met Stella Adler. But if you told a casting director you studied with Stella Adler all the sudden they'd let you in the door.

I used to get so worried that if a scene didn't go a certain way, then it was horrible. But then I realized that it was better to give the director options in the editing room than just being locked into how it's supposed to be.

I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.

I usually work with the director and it's just a collaboration between me and the one person. I think you make good movies that way. If the director and the composer can have this common goal and this excitement about making something great, then you're going to do something good.

I've actually been given a great gift. When I walk into an audition with a director, I'm carrying no baggage. They haven't seen me in anything, even though I've done nine films.

I've acted with all types, I've directed all types. What you want to understand as a director, is what actors have to offer. They'll get at it however they get at it. If you can understand that, you can get your work done.

I've always been passionately in love with movies, to such a degree that even as a young person of about nineteen or twenty I thought maybe I would try to become a film director. The reason I didn't do it was because I felt I didn't have the right personality. At that time in my life, I was mortally shy.

I've always felt it's the directors purview to say what; it's the actor's purview to say how. It's not good for an actor to have the big picture in mind - it bollocks you up. An actor's purview is the tiny little... We measure our performance in seconds.

I've always had the utmost respect and awe of what the lens can do and what a director can do with just a camera move.

I've always said that movies are a direct mirror of the director.

I've always said to people that auteurism is nice, but it's hypothetical, and gradually you learn how much or how little influence different directors had.

I've always traveled with the films because I want the audience to be my teacher so that I can learn for the next one.

I've always thought that as long as directors and casting directors don't see me as just Harry Potter, I'll be OK. People have shown a lot of faith in me, and I owe them a huge debt. They're letting me prove that I'm serious about this.

I've been offered lots of movies. There's always some actor who's doing a project and would like to have me do it. But you look at the project and think, 'Gee, there are a lot of good directors who could do that.' I'd like to do something only I can do.

I've been a DJ, janitor, ditch digger, waitress, computer instructor, programmer, mechanic, web developer, clerk, manager, marketing director, tour guide and dorm manager, among other things.

I've been directed by other actors, and being an actor doesn't make you a good director.

I've been lucky to learn by playing all kinds of roles and watching all kinds of really good cinematographers, actors, and directors for many years before people were even aware of me in terms of audience.

I've been very lucky to work with many amazing animators and directors who can interpret and extend the music I make. When it's done well, it can create extra meaning and new context for the song.

I've been very lucky. Directors I've worked with have been very amenable to changes.

I've been very lucky to work with a lot of amazingly supportive directors.

I've been very, very lucky in my career, in my life - from day one. When aspiring directors say, 'what's your advice?' first I say, 'be born the son of a famous director. It's invaluable.'

I've come to the possible conclusion that being a comedic writer/director is like running track. You do it for a certain amount of time and then you have to stop. Or you at least have to accept that you're not going to be at the top of your game. And that's OK.

I've certainly worked with really great directors who haven't acted.

I've constantly done my best to get the best material I can get with the best directors I can get to direct me.

I've been working with Five Four. The partnership started as one monthly collaboration, but now I'm the creative design director. There are still going to be collaborations for monthly drops, but we are launching e-commerce.

I've done so many movies with first-time directors, and honestly I just go with gut instinct. People that usually can tell me a good story, and talk to me about why the movie is the movie they want to make. I just go with my gut.

I've done a few movies where I really liked the project, but I wasn't sure about the director, and I still did it and my instinct was right, in the beginning. Even though it was a good story, the guy still didn't really know what he was doing.

I've done auditions where the casting director is taking the paper out of my hand in the middle of reading.

I've found that the more experts you have on a movie, the less control the director has.

I've had really great experiences working with first-time directors. They come at filmmaking with fresh ideas. I've been very lucky that way.

I've had a couple opportunities where I've been on the other side of the audition process as a director.

I've had a real lucky time working in Hollywood. I've talked to other screenwriters, and they're all kind of beaten down and their spirits are crushed, because they work on these screenplays and these projects, and then directors either take them and change everything, rewrite them and make them worse, or they film them and they're nothing like how they imagined it to be.

I've imparted that philosophy to the writers, but some of them look stuff up while some don't. Same with the editors, directors and actors. To each their own.

I've learned a lot from Clint [Eastwood], who's an extremely economical director.

I've learned from every director I've worked with. Everybody's style is very different, and I always say that being an actor is the best film school that I could ever go to.

I've never acted before in a movie I've directed. This felt like the time to do it just because the " Leaves of Grass" movie itself is so much of a platform for the lead actor. It's really written for an exciting performance and it really depends on the audience watching an extraordinary actor having a great time pulling off this feat. It makes sense to me as a director to act in support of that.

I've never played a Dane in a movie. I've had offers to be in Danish movies, including for some good directors, but I either had a job at the time or, when I was available, the movie just didn't happen. Hopefully someday I'll do one.

I've never been a fan of directors who clutter a piece with all sorts of crazy preconceptions or weird ideas.

I've never done a movie in that genre, and I love a lot of those movies. I watched the director's [David Freyne] short film [The First Wave], which I loved. And the script was just so good. He's found this way to tell a new story.

I've never wanted to be a fireman, in my life. I've never really wanted to grow up and be anything other than a film director.

I've really enjoyed my work in television, but the problem for me is the turnover of directors every week.

I've never let producers tell me what to do. Even when I was making television, I always did what I wanted to do, and if I couldn't, I didn't do it. It was a freedom that, these days, young directors starting out don't have.

I've worked with some very good directors and some very bad ones. I learned a great deal from both. From the bad, untalented people, you learn what not to do. And when you work with very highly talented people, you want to emulate them.

I've worked with many directors, good ones and bad ones. So if I have a chance to work the good ones, I better put myself in their hands, and trust them, because that's my big opportunity to be different, and to be better than usual.

I've wanted to work with [Kairo aka Pulse director] Kiyoshi Kurosawa, but he has not been making horror movies recently.

I've worked with Jack Nicholson and Robert De Niro and Tom Hanks. I've worked with some really good directors: Woody Allen, Paul Schrader... My God, I've really worked with a lot of people. But I'm intimidated by them, and I'm always thinking, "Oh, my God, he's not going to like me, and I'm going to get fired.

I've written a lot of scripts that someone else directed, and it's absolutely vital that, if I'm gonna act in it, then I have to take off the writer hat and let the director direct.

I've watched other directors as an actor and I picked up little things here and there about cameras, [but] I wouldn't consider myself the guy you'd want to hire to do Star Trek.

I've worked with some of the great cinematographers. So I'm always watching what they do and I'm watching how the director composes his shots, just because I find it interesting as an actor; you're trying to help them out as well.

I've worked with Steven Spielberg three times. I'm proud to say that I'm one of those actors that continues to get hired by the same directors.