Best 1750 quotes in «directors quotes» category

Unless you're a directing producer of a television show, for the most part, the director comes in one week to direct and episode, and then leaves. I'd much rather produce television and occasionally direct an episode of a show I'm producing, then just come in as an outside director.

Unlike a lot of British directors, I hadn't done any theater. But, I had a great mentor who said, "What you're looking for is exactly the same thing you've done in your documentaries, which is moments of emotional truth.

Usually when you meet with a director, just meeting them after you've seen something you're interested in, they say, "Oh I'd love to work together," and sometimes you never hear from them again.

Very broadly speaking, you can put directors into two areas: One for whom you work, and the other with whom you work. And I prefer the latter, for obvious reasons.

Virtue needs a director and guide. Vice can be learned even without a teacher.

Voting wouldn't excite me unless it included electing the directors of the big banks and corporations, who make the real decisions that affect our lives. It's hard to get excited about the trained seals in Washington.

Voyeurism is a director's job description. It's an artist's, too.

Watching the news inspires me to keep going and reminds me why I should never complain. I'm inspired by those who don't let others define them: Martin Luther King Jr., James Dean, Vincent Van Gogh, Hillary Clinton, Tennessee Williams, director Steve McQueen. They've all changed the conversation by making their voices heard.

We all like indie directors - heck, I even married one... but we're divorced now.

We all steal, but if we're smart we steal from great directors. Then, we can call it influence.

Well, it's so cheesy to say but you can't find a comedy director who makes movies for critics. When a movie does $580 million worldwide, I'm not saying that proves anything except people were enjoying the experience.

We do have American Idiot picked up by HBO and I wrote the record and concept to it. [We have] the writer Rolin Jones and [director] Michael Mayer [who also directed the Broadway production], so we'll see what happens.

We knew, very early on, that we had to be very, very clear that directors need to speak to actors and actresses and be very clear about what is expected, and find out whether they're comfortable with that. Wardrobe has to be in place. There have to be checks.

Well, there's a great Marlon Brando quote that to do something well you have to spiritually marry your director. You have to be making the same movie they are in that you have to try to help their imagination be better, and more full, and more fully realized, but you can't have a different imagination because then you end up - and you see this a lot in movies - where it feels like they were making five different films.

We had a work session [in "Moneyball"] where about 30 scouts came in and we're all riffing. And after it, [director] Bennett Miller said: Look at these faces and this is what we have to got to do. We got to get these guys in the scene.

We haven't seen a situation where you have the FBI director talk about an investigation side by side with the attorney general who confirms, yes, I accept the recommendation of the FBI director.

Well, if you ask any filmmaker how they got into it, everyone came a different route. Ive never actually watched another director work.

We make a contract within ourselves as actors or directors or writers about how much of ourselves we let into projects. You can actually figure out before you work on something how much blood you will have to let emotionally.

Well, I wasnt just kind of standing in a queue at McDonalds and someone sat down and said, Youre the director of a $100 million Hollywood movie. Ive been working in commercials for ten years.

We really enjoy that, having a relationship with writers, developing material and getting a director, actors, that we have kind of that family kind of as a group we're going to do it together mentality in a project. Then the tough part is - so what actually goes has very little to do with us sometimes.

What goes on between a father and a son, which is usually such a private matter, is that they are able to be honest with each other, and be honest with me, as a director. Its just remarkable.

Were I not married to the director, I'm not sure I'd know anything about the 'Underworld' sequel.

We're producing a movie now, 'The Onion' Movie, and it's very difficult for me to be on the set. If I'm not right in the trenches, it's very difficult for me to watch another director, because I'm not involved and it's not exciting.

What happens is things come to you - director, script - and if you respond to it, it's because it's tapping into some part of what's inside you, and different roles tap into different parts.

What I do as a director is really create a safe environment that everyone can feel very comfortable in and experiment within so that they don't hold back anything. You never ever want someone to go, 'Oh I shouldn't have done that.' There isn't anything you shouldn't try. If it's terrible, who cares?

We've done a lot of films now about the IRA, we can move on from all that. I loved '71 because I think it showed a very honest trail and what it was actually like. It wasn't one-sided. I really respect ['71 director] Yann [Demange] for what he did. But we have done a lot of those things.

What a director does... essentially, it's storytelling, but a director also controls the feeling and the sounds and the texture. It's an act of creation, like a symphony or a painting or a story. But with different tools.

Whatever talent I had, I'm sure it helped that my parents were in the business and that I grew up around actors, comedians and directors.

What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.

What happens often is the script is written and once the director comes on board you have lots of conversations and it mutates again.

What I like about being an actress is that it keeps you feminine. Being a director and producer makes you manly and very masculine and I don't like that quality in a woman. But I'll do it when the film is very close to me.

What I look for in a script is something that challenges me, something that breaks new ground, something that allows me to flex my director muscle. You have got to think fast in this business, youve got to keep reinventing yourself to stay on top.

What I promise to my actors, and to my director, is to give them the salary and everything they need.

What I try to do is make sure that the directors I'm working with are on the same page and want to do the same kind of films. You can really protect yourself as an actor if you work with really good people. It can hide a lot of flaws along the way.

What I think happens, and that you have to acknowledge though, is that a director uses a book as a launching pad for his own work and that's always very flattering.

What people think improvisation is and non-improvisation is, it's nothing to do with what you like or dislike. It's all about how it happens with certain directors and certain scenes. That's the way it works. It's not something, in general, that you can decide.

What makes it frustrating is when a director or a studio head doesn't see me for the same part that they'll see, let's say, Drew Barrymore for. Drew's a great friend of mine. But it's like, "No, we want more of an American type of girl.

What you realize is that a lot of actors want to be directed. They're there to do the best job they can for the director. They have a lot of questions, and your job is to have answers.

What you want, as an actor, is a great leader. I can't bear it when I work with a director who is wishy-washy and says, "What did you think?

What you want is a comfortable environment that you feel you can invent in. Because film is such a lumbering, technical, huge, great Neanderthal thing, it's hard to create that little space of peace, and calm, and creativity, and ease. That's what you want the director to create for you, so that when you walk on the set, you forget all of that, and the fact that it's costing gazillions of dollars a second.

When a filmmaker does not make films it is as if he is jailed. Even when he is freed from the small jail, he finds himself wandering in a larger jail. The main question is: Why should it be a crime to make a movie? A finished film, well, it can get banned but not the director.

What's interesting is that producers, directors and writers tend to typecast me in terms of whatever movie they've seen me in most recently.

When a director can give you a word that allows you to feel less tense about yourself, to make you feel like you indeed are good enough before you even get to the work, you can't ask for anything more than that.

(When asked what a director does) I help.

Whenever I'm offered something, I always read the script and meet the director. I still appreciate just being considered.

When Chris Nolan is your director you are like, "I trust that, I'm wrong.

Whenever I really want a part, I'm not sure what to do. How do I let the director know how obsessed I am and willing to do anything for the movie?

When I began to direct, I began to understand and realise that everything that I'd learnt, both in music and dance and in the theatre, seemed to come together as a director, and I began to enjoy it. And slowly I let the acting go.

When I became a director, I wanted to convince a very reluctant Sidney into allowing me to go on the journey of his life. Sidney had gone ahead of every other African American actor.

When I do a still picture, I'm doing it all by myself with no help. I'm designing everything. I am my own art director. I'm doing everything. I'm directing, editing, whatever.