Best 1750 quotes in «directors quotes» category

My first day on the set of 'John Adams', I was just supposed to fly to Virginia for a costume fitting. But the director figured, why not shoot it, too? So they threw me into a dress that didn't fit, gave me lines I hadn't seen, in a dialect I didn't know, and two screaming, arching infants.

My generation of director has no illusions that we are going to be fed and cared for by subsidized theater in America.

My goal as an actor, as an up-and-coming actor in this business is to stay consistent with the work, you know, and if you do good work, and stay focused on the work, writers and directors will pay attention.

My height can be a problem. A lot of directors and photographers are sometimes not happy because I'm pretty tall and especially if I work with short actors the difference can be pretty massive.

My husband is a director, and I understand what it takes to direct. It's a skill set where you have to be able to talk to actors and understand them, and I don't. It's a very different way of being in the world, and I much prefer writing and producing.

My ideal role would be the lead in a film with a director that I really appreciate and admire.

My husband's a director, so he understands what I do.

My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.

My interests were aroused, and my faith in the cliches of the subject destroyed, as so often with other subjects, by the discussions with my friend, Aaron Director.

My job as the director is to make that as authentic as I can and not to disturb the revelry.

My memorization skills aren't that great so I need help in that area. As far as everything else, I listen to the director. I'm someone who doesn't argue. I hit my marks and say the lines.

My main interest in being a director, and the most important thing to me, is that world with the actors.

My mother was an actress. My father was an actor and a director. I am the son of filmmakers.

My parents said, Oh, he's going to be a director someday. I wanted to be an actor.

My philosophy is that to be a director you cannot be subject to anyone, even the head of the studio. I threatened to quit each time I didn't get my way, but no one ever let me walk out.

My respect for animators and animation directors has gone way, way up and it is just not something you can phone in.

My scripts are always heavily noted. If I can take a director to one side and say, "Do you mind if we try this?," a few days before, that's usually a better way of doing it then on the day.

My sole inspiration is a telephone call from a director.

My tendency as an actor was to correct people, was to say, 'What if we tried it this way, what about if we tried that way?' That's terrible habit for an actor, but that's a good habit for director. So I became a director.

My tutor was a film director on the side, and she introduced me to film. She then put me in one of her short films, and it came out of that. That's when I fell in love with the process of making a film. After that, I was about 15 and I was like, "This is what I've gotta do." So, I started taking acting lessons, and then I applied to college to do acting. I got an agent, and it all just happened.

Nancy has her vision and she's a formidable force to be reckoned with, and that's similar to most of the male directors I've worked with. The only difference is probably inbetween scenes, gossiping with Diane Keaton, Frances McDormand and Nancy Meyers about who's had Botox and who hasn't.

My very first news director said to me that it's better to be hated than to have viewers be neutral.

My whole family is very artistic - my uncles are all actors and theatre directors.

Nollywood is a genre, and not the entire Nigerian film industry. However none of the 'New wave' of directors in Nigeria would know what was possible without the Nollywood model, so I'm grateful to them for showing us that our stories are of interest to people other than Nigerians. I would describe myself as a filmmaker, period.

No comedy should be longer than 90 minutes. There's no such thing as a good long joke.

No director wants to be directed, but no good director... would shy away from the good ideas of others.

No one appears on our stage unless the director has placed them there for our benefit

Normally, I'm a very controlling director. Directors are controlling. It's part of the job, but there's various degrees of it and the constructs I normally work on are very controlling constructs.

Norwegian kids, they grow up well educated in film. So they have a lot of good directors there.

Normally, I rely heavily on my director to massage me out of my actor comfort zones.

Now Tarantino is making DJANGO UNCHAINED. Everybody is telling me I am in the movie but I've not been asked by Tarantino officially. Not yet. There were many, many other Django films following mine, with other actors and directors, but there is only one Django.

Now that I'm taking some time off from school, I've been reading a lot to make sure I don't forget everything. It's mostly classics and nonfiction accounts from actors, directors and writers from the '40s and '50s

Nothing beats novel writing because it's complete expression of you. You just control everything. Not even a movie director has that level of control.

Not many French producers work the American way. In France, the director decides everything, he has final cut. I'm trying to do things differently, without the Luc Besson solution.

No, United Artists was a very extraordinary organization, because once they had agreed on the director, they believed in letting him have his way. They trusted me, and that doesn't often happen.

Now at my age I understand how sad it must have been for some directors or actors at the time the talkies began. Because, really, a whole continent disappeared.

Obviously, if a director doesn't communicative a clear, relevant vision of the material, it will not succeed no matter how good the material.

Obviously, I've been very lucky in general in my career, but I feel that I've been very lucky in terms of having directors come along at the right times who have taken me to the next level of where I needed to be.

Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.

Obviously I'd love to work with any of these great directors because every time I've worked with them I've gained a tremendous amount as an actor. Each director has his own way of pushing you towards improving yourself.

Obviously there was Keith Haring and Robert Mapplethorpe, but Howard was on the brink of becoming a famous director - it didn't happen because he died.

Obviously with the onset of cable and satellite, there are more opportunities for programming and original programming, so it creates more opportunities for actors and producers and directors and everything.

Occasionally I do movies with other directors. I did 'The Diving Bell and the Butterfly' for Julian Schnabel. I did a movie with Jim Brooks ('How Do You Know'). I did a movie with Judd Apatow ('Funny People'). So I do get a chance to work with other people, which is always enjoyable, always pleasant. But still, Steven [Spielberg] makes the types of movies that I'm interested in as well.

Of all the projects I've worked on, I've never worked with another director like Billy Friedkin. I think he's a genius.

On a film set, we're all glorified troubleshooters, really, as directors. It's not if a problem arises. It's when.

Oh, what the hell did I know? I went to the set the first day in full makeup and the director told me to take it off. So I did the film without makeup. I had nothing to do with anything I did. I never understood why I was so famous.

On a simple level, you need directors who are good at action and can choreograph an action scene, but you need them to also have that sense of fun and that sense of movement and that ability to get the actors to really respond to the material in the way that you want them to. It's a very big thing.

Of course, at their best, movies are anti-literature and, as a medium, belong not to writers, not to actors, but to directors.

On a movie set that works, you have your father figure, the director, you have your siblings, your other actors.

Once in a while I come across a director who hasgrown up thousands of miles from me, and the work touches me.Through these issues/50/images I am connected and something is illuminated.And I know then that I am not alone.