Best 1750 quotes in «directors quotes» category

However good a communicator a director is, unless they've been actors, it's just not the same as the shorthand you get with someone who's been an actor.

However happy the director is, I have to be okay with it. I'm pretty strict with myself, about throwing things out or trying to be true to whatever the situation dictates.

How many movies do you see when you can say this director really knew what film he wanted to make? I can count them on the fingers of one hand.

Human nature is not amenable to prediction based on the trends or tendencies prevailing at the time. It is amenable to startling creativity of the kind practiced by great artists, directors, writers, musicians, actors, who know how to touch a chord in humans everywhere.

I actually love Scorsese comedies. He's an underrated comedy director. I think his comedies are some of the best comedies ever made.

I adapt to directors, I don't like making directors adapt to me. If I'm with Clint Eastwood then I'll do two takes, if I'm with Fincher I'll do 50 - though the thought of that sounds horrible.

I almost became a music major, but somehow I was so enthralled with the camera and becoming a director that I stuck with film school and theatrics.

I also really loved the friendship between these two women, and watching these two very different women working in this gritty male environment. That was really the reason that I wanted to be a part of it. And, I went in and met with the producer and the director that did the pilot, Mike Robin, and read with them. And then, I did a read with Angie Harmon, who was already cast. From the moment we read together, it just clicked. It was as easy as that.

I also think it's still easy for us - as women, as writers and as directors and producers - to let it fall into the same patterns. Like, "and then the woman brings in the food, because the woman's the one who makes food." It's easy for that to happen, because that's what we've always known.

I always claim that the writer has done 90 percent of the director's work.

I always felt that the telefilm directors made wonderful films, which are even better than the big screen movies, but never got enough opportunities to showcase their talents on the big screens.

I always felt, and still feel, one of my best strengths as a director is having been an actor for a long time. Nobody knows actors and their insecurities and strengths and everything more than somebody who's done it before.

I always choose my projects for the script or what the director want to tell with that story. And if I like the story.

I always found something strangely paternal about the director-actor relationship. Actors want so much approval.

I always have directors who are somewhat frustrated because they'll reference a beautifully obscure film from the '50s or '60s or '70s, and I've not seen it.

I always say that I'm not the director, I'm part of the team.

I always scout locations first. The apartments, the railway tracks, the café, the canal - I figure out the geography of the film.

I always thought when I was doing more melodramatic stuff like Everwood that the directors were constantly reeling me in and stopping me from being funny. I've always tried to find a funny angle on things, and 99 percent of the time, it just doesn't work.

I always think it's a sign of a truly gifted director when they can move seamlessly between genres.

I always thought it would be very funny if I was a blind film director.

I always wanted to direct. I always saw myself as a director.

I always wanted to create a site that was sports and pop culture. 30 for 30 had a big impact because I loved how that was about finding, empowering and working with these incredible directors, and I thought the same thing could work for writers.

I always wanted to direct. Directing is a lot more of a commitment though, a lot more time. I like directors who do very few takes, they know what they want.

I am lucky, that is all. Lucky because there are a lot of people - producers, directors, people who buy tickets - who put confidence in me.

I am both proud and honored to be on the Board of Directors for the Texas Ballet Theater.

I am a very impatient director.

I am impatient with directors who don't know what they want, and the way you don't know what they want is because they want to do one more. "Let's do one more." So, "What for?" I guarantee you there's not going to be a change.

I am not a master-class director. I am not a teacher. I am a coach. I dont have a methodology. Each actor is different. And on the film set, you have to be next to them all.

I am open to keep on discovering new interesting projects, and little by little I have been coming across very beautiful projects with very affectionate directors.

I am often asked at what point in my love affair with films I began to want to be a director or a critic. Truthfully, I don't know. All I know is that I wanted to get closer and closer to films.

I am not interested in simply working as a director. If I am not making movies that I want to make, that I feel passionate about, or that I feel are hopefully at the level of cinematic quality that I feel they should be then I am not really that interested.

I am still taking care of the creation of the collection alongside my staff, and my daughter Nathalie Rykiel, is the artistic director of Sonia Rykiel, who takes care of a lot of things. We are very alike and also very close.

I am sure I am one of 2000 film directors in the world that Tarantino admires.

I am the best film director in the world.

I became a director just for the love of movies, because of the power of cinema.

I am very clear that when I work with a director what he or she says is the last word.

I am working as public relations director for the Tour de France and maintaining my farm.

I became, and remain, my characters' close and intent watcher: their director, never. Their creator I cannot feel that I was, or am.

I believe, as a producer/director, your duty is to create a beautiful horror film that really resonates.

I aspire to be an instrument of the director. I'm happiest like that. The stronger the director, the more I'm willing to give them.

I auditioned for Ted Bundy and the director Matthew Bright and we really hit it off. He cast me as Bundy's girlfriend.

I began stealing a lot of ideas from other directors I had worked with.

I believe young female directors in particular should always remind themselves of the truths of their own stories and not let outsiders influence the authenticity of their films.

I believe that every director's films reflect their lifestyle.

I came across awful characters when I got some kind of status and came to Hollywood. Then you have directors trying to sleep with you, assuming that you will do things because of the way you dress.

I can rely on me [being a director], unlike some actors. I never got anything less than what I needed from the lead actor.

I can make fried tofu, boiled tofu, stuffed tofu. Cutlets and other fancy stuff, that's for other directors.

I can make a better living as an actor than I can as a director. Though I certainly would prefer to be directing movies.

I can't act. I simply must be myself, do the things that seem natural to me. When I get with a director who wants me to act, I'll be lost.

I can't imagine any director directing a screenplay of mine, because the great directors all have very personal styles, and the ones that don't are not very interesting directors.