Best 1750 quotes in «directors quotes» category

If it gets to the Supreme Court, I'll have the directors of every museum in the country as expert testimony that my work is legitimate art.

If it were up to the executives, they probably wouldn't have directors at all.

If I were in the director's chair, I would cast [Geena Davis] in something awesome every six months if I had the choice.

If I weren't a director, I would want to be a film composer.

If Martin Scorsese calls, I am available. And then there the ones, well, you can just run down the list - any of those Oscar-nominated films, they have amazing directors across the board.

If mutual fund directors are independent, then I'm the lead character in the Bolshoi Ballet.

If Quentin Tarantino is your writer-director then you're going to learn the words and your gonna learn why they're the words. You're gonna learn why they're the best words to say.

If someone suddenly lost their director the day before shooting and wanted me to step in, I'd be willing to. But I'd do brain surgery the same way. I'm always up for something new.

If someone were to hire me for a film they'd be getting a certain kind of package, that's for sure, a certain set of tools. But I would listen to the director.

If the director's a communist, whatever, he's a communist. All I care is that he directs. For the actor, the same thing. All you really care is that he comes in and performs.

If the director of the department doesn't even know what the privacy policy is, we are in trouble.

If the director says you can do better, particularly in a love scene, then it is rather embarrassing.

If there is one thing that, as a director, you don't want to be a part of, it's a group. It's the same thing with music. I don't want to be a part of a scene. Just leave me alone. It's just my nature, and it's nothing against the people that are in that group, but I just like to be left alone.

If there's any relevant influence we may have with an investor, with a studio, with a director, with an actor, I think we have to fight.

If there's a criteria that really gets me interested in a work besides any type of personal interaction with the theme, it's if I feel like this is the right piece of work for that director at that moment in their career.

If the United States is to produce a nation of investors-as we must if we are to gain financial world-leadership-it is imperative that boards of directors be so constituted as to adequately represent the interests and inspire the complete confidence of investors of moderate substance.

If the script's good, everything you need is in there. I just try and feel it, and do it honestly.

If you are at odds with the director, neither one of you is going to get anywhere. You really do have to be able to make both of you happy.

If you didn't get it right and then you have to release a director's cut to undo what the studio made you release, I don't know, either it's some marketing thing for them to get more money or the director didn't do his job.

If you are able to see on a monitor what it's actually going to look like and have that kind of feedback informing your decisions, then you're bringing back a lot of the decision-making process of the designer, the director of photography and the director away from the post-production process and bringing it back into the actual capturing of the event on film.

If you are the writer/director especially, no one cares more about the project than you do. You know it in and out. You created it. So always listen to input but don't be afraid to veto and fight decisions that you know instinctively are wrong.

If you don't have a brilliant screenplay, then you either have amazing actors who give you the chance to improve whatever is on the page, or an interesting director who has enough faith in the project that they can carry it through and get it somewhere. One of those factors needs to happen. If not, it's sad.

If you don't take it personally, the partnership between producers and directors is very intimate.

If you do well as an actor, a good director will pick up on it, and keep it in the film.

If you have a script that's not great, if you have a great director, you can make a great movie, but if you have a great script with a director who's not good, never are you going to have a good movie.

If you're a casting director, you're going to be curious to see what Timothy Spall's son is like. But when you get in the door, you have to have something to offer.

If you knew my wife, you'd be like, "Yeah, you're very married." She runs the household. I refer to her as "the greatest director I've ever worked with.

If you look at the types of directors out there, I'm not as weird as most of them.

If you're a director, your entire livelihood and your entire creativity is based on your self-confidence. Sometimes that's dangerously close to arrogance.

If you're a movie actor, you're on your own - you cannot control the stage. The director controls it.

If you talk about big trends at Disney, these movies generally are generated by directors or directorial teams pitching ideas to John Lasseter.

If you're not grown up enough to understand that a trailer is not done by the director, then fine. Judge the movie from the trailer.

If you're working with a director you trust, you can turn that part of you off that wants to direct other actors in a certain way.

If you talk to any director, they'll say music is fifty percent of the movie.

If you're sounding right, you're probably walking right, and vice versa. If you get the footwork right - if you get even one line right in a rehearsal, the director will say, do you know when you said that, it was exactly the character. You were - really landed on it.

If you see, as I do, in edited film, you're going to end up as a director.

If you want to be a great director, be a great screenwriter.

If you work in casting, it's sort of not cool to want to act. A lot of people think that casting directors are frustrated actors, but it wasn't true with any of the casting people I knew.

I get involved with projects based on three parameters - the script, the actors involved and the director.

I get to meet different directors and different people.

I got nominated for my second film as best young director in the Aikido Film Festival in Japan.

I guess I'm not jaded because I still believe that there are good films out there, and there are great directors, and there are great writers. It just takes a little bit more perseverance and a little bit more time to find [them].

I guess I probably see myself as a director. If I had to choose, I think that that's the aspect of the process that I'm most excited by.

I had a hard time watching "Wolf Creek." It is a film with one clear purpose: To establish the commercial credentials of its director by showing his skill at depicting the brutal tracking, torture and mutilation of screaming young women. When the killer severs the spine of one of his victims and calls her "a head on a stick," I wanted to walk out of the theater and keep on walking.

I guess you could say I'm like a film director but my movies have only one frame.

I had a 90-minute one-man show. I performed it and my life just exploded. Everything - my life just changed. Every writer, director, producer, studio head, movie star - they all wanted it. It was the hottest property since 'Rocky.'

I had a very blessed journey with the upbringing I had. When you're working on sets as a stuntman, you have a firsthand account of the dynamics between actors and directors, because you're working hand in hand with them. You're not sitting outside the process watching. You become part of the process. You also see your tradecraft and see how movies are made.

I guess the story that best defines us [with Bud Yorkin] and our relationship goes back to the [Dean] Martin and [Jerry] Lewis show. The four stage managers on that show became major TV creators and directors - John Rich, Jack Smight, Arthur Penn and Bud Yorkin.

I had a caricature view of the guy in the beret with the big megaphone­­, but a movie director and writer was beyond my role of understanding.

I had been doing summer stock every summer while I was in college. We did a showcase, like most good conservatories do - monologues and things that agents and casting directors come to see. From that I got an agent.