Best 1750 quotes in «directors quotes» category

Among today's directors I'm of course impressed by Steven Spielberg and Scorsese, and Coppola, even if he seems to have ceased making films, and Steven Soderbergh - they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic is amazing. Another great couple of examples of the strength of American cinema is American Beauty and Magnolia.

A musical is only as good as its director. The same can also be said for the CIA.

A movie has its own fate, which often doesn’t depend on the performances of the director and actors.

An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.

An actor and a [theatre] director are both what I would call interpreters of work. We interpret a work, just as a musician will interpret a composer's work, we interpret the work of a playwright. We are servants of the theatre and I've always believed that. We must serve what has been written, that's what we're there for.

An appreciable number of directors have shifted to lower-cost films, allowing them to be satisfied with a more modest return.

And also, Sergio Leone was considered in Italy a director of category B, not a big director.

And I just want to work with good directors and good people.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

And I think being a good director is being able to be completely tyrannical and you?ve got to be an absolute dictator while at the same time, you have to listen and see everything because it can all change on a dime.

And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.

And Louis Freeh was a completely dysfunctional FBI Director, who was actually waging his own private war against the Clinton Administration.

And people say it all the time: 'You're a celebrity.' No, I'm an actor. I'm a producer. I'm a director. I'm a toad. I'm roadkill. I'm anything but a celebrity.

And then, with a European director and Norwegian actors speaking in Norwegian, it was going to be very interesting. So, whatever initial trepidation or fear I may have had was alleviated by those factors. I just said, "This is something to get on board with.

And there was a very famous man called Michael Powell, who probably is the greatest director all round, except possibly a couple of men.

And when I have lived elsewhere, every two weeks I have to fly back to LA. Even New York directors go there to audition. So I have to be there to a degree.

An Ingmar Bergman film would probably owe a sizeable bulk of its import and its direction and its quality to the directorial end and to the director because it's uniquely a Bergman film. But that again is not the general - no, that's much more the exception than the rule.

Another mistake a director can make is not to be prepared, so you get there on the day to shoot the scene, and they don't know how it should be blocked, and they're not clear on how they want to do a scene.

Any director, if you really ask them, will tell you that the toughest thing to do is like a dinner table or a dialogue scene because you need to keep that electricity maintained throughout the course of the film.

Any good movie is filled with secrets. If a director doesn't leave anything unsaid, it's a lousy picture. If a picture's unsaid, it's a lousy picture. If a picture is good, it's mysterious, with things unsaid.

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

As a director and an actor, it is very difficult to say "this person was better than another person." I judge by chemistry of the actors but it is difficult being a judge. I will never bash any of the actors.

Any director will tell you, no matter how big his budget, that it's always the budget and the day count.

A poet needs a pen, a painter a brush, and a director an army.

Arnold and Jamie Lee must have worked over the years with directors that did 50 takes, because I'd get like three takes or so and say, Ok, that's it, we're done.

As a 25 year director of a non-profit program I began to see the need to shift from only doing projects/programs to also doing policy work.

As a director, I have to feel realism from actors, and they can't be plastic.

As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.

As a director, you should choose a project that will educate you and enrich your life, because you're going to be doing it for two years.

As a director, you try to find what is creative.

As a first time director it's interesting, but not all that different from what I did before. A lot of parts of this job seem to be very similar to running a big company.

As a director, if you know what you want, then it's not scary.

As a director, I have to feel realism from actors, and they can't be plastic. The words for me are secondary, but the chemistry between the actors is most important. However, you have to go by the script because it's related to production, otherwise you will not finish your project.

As a director, I really wanted to learn and I needed to get away from my own stuff to figure out how to just do things and work with good people.

As a director, my job is to protect. I protect scripts, actors, cameramen, designers.

As a director, you always want things to look good. You're always trying to make things look tidy. That's what we're all trained to do.

As a director you have to be careful you don't over-design the film. You have to be careful that the period aspect does not take over.

As a director, you just have to kind of like just get through the first project before starting on the next one.

As a director, you're only as good as your collaborators. You surround with collaborators that are going to understand what you're trying to do. Not only that, they're going to push and fight for what you're trying to do.

As a consumer of entertainment, as a director, I'm always interested in questions of identity and who someone is and how they're perceived and who they are versus who they thought they'd be.

As a director, I get to have a much broader creative expression than as an actress.

As a director, it's my job to provoke, and when people decided 'The Room' be called a phenomenon, or whatever you call it, it's fine with me.

As a director, or just a film fan who wants to enjoy the festival, Cannes is the worst place to be. But it must be a paradise for distributors and importers.

As a director, try to be humble and not to overdo it, not overcoverage and over-covering the scene.

As a director who does not like to write, I am always looking for scripts that I can contribute to through directing. I don't want to do the same thing that the writer is doing; I want to add an angle or highlight a theme.

As a director, you've got to have quite a few projects going because you never know which one will actually come together with the financing and get the green light.

As a film director I like to have the actors create their own close-ups. It's an older style of filmmaking.

As a director myself, you want to have colleagues and collaborators that respect your authority as the director. I'm very comfortable with that, and I've done a lot of work in second unit.

As a director you come in and tell the actors how good they are.

As a director, you have to go in with a really, really, really clear picture of what you want. That's the point of my commentaries. It's so difficult because you're the harshest critic.