Best 1750 quotes in «directors quotes» category

Our intelligence community needs better coordination of operations and exchange of information, and that's why we need an overall director of national intelligence and a national counterterrorism center.

Our top story, in 'Threat Matrix Reloaded' news ... Attorney General John Ashcroft and FBI Director Robert Muller held a press conference today to announce that Al Qaeda is planning attacks somewhere inside the United States at sometime in the future. So go about your normal lives, but with a vague sense of foreboding.

[Out To Sea] began a relationship I had with [director] Martha Coolidge for a few years that was wonderful, and she certainly cast me in the best roles I've ever had in film.

Over the long haul I'd say that most directors I've worked with have been pretty sensitive to the quality of the interpreted scenes.

Over the years with movies, I've given directors notes.

Part of the advantage, and part of the result of trying to be a producer and director, are the practical things, you find. It's so advantageous to go to a place that you already have a feel for, a literal and spiritual familiarity.

People come up to me and say "Steve, what is film editing?" And I say "How should I know? You're the director.

People have forgotten how to tell a story.

Personally, I can't stand violence. In any standard American mainstream movie, there's 20 times more violence than in any one of my films, so I don't know why those directors aren't asked why they're such specialists for violence.

Performers are so vulnerable. They're frightened of humiliation, sure their work will be crap. I try to make an environment where it's warm, where it's OK to fail - a kind of home, I suppose.

Photographers should make three or four prints from one negative and then crop them differently. When I was art director at Harper's Bazaar and at several agencies as a consultant, young photographers would bring me their portfolios and all the prints would be in the same standard proportions, either for the Leica or the Rolleiflex. Many times, by limiting themselves in this way, they missed the true potentialities of their photographs.

Playwrights are the most gregarious writers - to get our work done, we need actors, directors, set designers.

Picking projects, it's always director first and then script. Those two things are pretty much head-to-head.

Plan B is really a little garage band of three people, and our mandate has been to help get difficult material, that might not otherwise get made, to the screen and to work with directors we respect.

Producers generally don't like me; directors do, generally. Convincing the producers is hard. They can't see the commercial value behind such a face, nor would they get a commercial value, necessarily - and I don't mean that in a good way or a bad way.

Prudence is not only the first in rank of the virtues political and moral, but she is the director and regulator, the standard of them all.

Producers don't like the director who ignores their opinion - but I always try not to be the nicest person when making a movie. It's easy to do that. Just say 'Yes sir', "Alright', 'Okay' - but they're not seeing the movie because if they can, they should be directing the movie.

Really, it's the director's job to disappear and allow the movie to just feel.

Really good director sometimes will kind of see what the actors are doing and then get in there. Because there's the realization that you have to find it a little bit and then kind of clump around and sniff it out.

Really top-notch directors, I've often worked with them just to see how they work.

Realizing that my surroundings were going to be built around me, the way that I performed, we helped the directors through the performance, to create the world that we were going to be seen in. I was very fascinated with that.

Richard Curtis, the writer and director of Love Actually, is brilliant at many things, but his genius, I submit, is for thrusting characters into situations in which they feel driven to humiliate themselves. Which is why we love them, especially when it's all in the name of love. He is the Bard of Embarrassment.

Rewriting the negative beliefs you have learned is the essence of becoming the director of your life.

Remember the great film with Bette Davis, All About Eve? There's a scene after the scheming Eve steals Margo's role through trickery & then gets this magnificent review. Margo of course is effing & blinding all over the place. And crying. Her director rushes into her house, puts his arms around her & says, "I ran all the way". That's what I want.

Saying directors don't write because they don't type is very wrong, it's like saying Dylan doesn't write music because he doesn't write notation.

Roles came to me. I was very, very lucky in that respect. Great directors, great writers, great producers - they saw something in me that they wanted for their picture or their play or whatever it was, whether it was Edward Albee or whether it was - or Peter Hall, directors. They would come to me, thank God. I was lucky. Lucky, lucky, lucky.

[Roger] Vadim became famous worldwide as a director, and I as an actress, but the other side of the coin was terrible. My life was totally turned upside down. I was followed, spied upon, adored, insulted. My private life became public.

Screenwriting is the most prized of all the cinematic arts. Actually, it isn't, but it should be.

Scripts are what matter. If you get the foundations right and then you get the right ingredients on top, you stand a shot... but if you get those foundations wrong, then you absolutely don't stand a shot. It's very rare-almost never-that a good film gets made from a bad screenplay.

Sexism is real and it persists in film and television. I've seen female directors openly undermined by male cinematographers in front of the entire crew

Secure writers don't sell first drafts. They patiently rewrite until the script is as director-ready, as actor-ready as possible. Unfinished work invites tampering, while polished, mature work seals its integrity.

So I started to learn Russian and I was one of those probably way too eager, annoying young actor kids who was trying to change all my lines to Russian, much to the dismay of the director and Nic Cage.

She's got no charisma of any kind [but] I can imagine her being mildly useful to a low-rank porn director.

Simon Collinson, of digital publisher Canelo and über-cool Aussie mag The Lifted Brow, is our digital producer; Sarah Shin, Verso's comms director, is helping us out with press publicity; Soraya Gilanni, who mainly does production and set design for films and commercials, is our art director.

Since signing with Universal, I have been working closely with Gary Ross, the director, producer and screenwriter. We have spent many hours on the phone, and I've been sending him information and items that have been useful to the writing process.

Snoop Scorsese, that's my director name.

So many directors are solely focused on their own success in Hollywood and multimillion dollar budgets and deals.

Since stepping down as laboratory director in 1999, I have devoted an increasing fraction of my time to international issues. I am involved with energy, environment, and sustainability issues, particularly as they involve new energy sources free of greenhouse gases.

So I write melodies - thirty, forty, fifty - then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide.

So many people have said this, but it's true: 95 percent of what I do as a director is casting and getting people who can bear the load of what you're asking them to do and creating this emotionally safe environment.

Somebody said that I'm a bit like a sponge, grabbing things here and there, soaking stuff up. [As a director] you have to be, really.

Some directors involve waiting, and if you want to work with that particular director you're going to have to hang around.

Some directors are like it's their... nothing can change, nothing can move. I like collaborating, even when an extra has an idea, I like to bring to really have collaboration.

Some directors have just one way of working; you either have to adhere to it or you don't.

Some directors, like Stevens [George Stevens], shoot full circle, 360 degrees, and that's what's right for them. I generally shoot at about a seven to one ratio. But part of that is because I've worked on every screenplay, so I'm further along in the visual concept.

Some call me director, producer, filmmaker. I prefer to call myself pube-king.

Some friends of mine who are actors feel directing shuts them down and kills all their impulses, but the worst thing for me is if I feel a director hasn't noticed.

Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.

Some directors are comfortable with music. Some feel comfortable discussing and talking and operating in a musical language. Others don't engage so much.

Some directors can tell stories and it becomes very intimate and small, and it's almost like a secret. Some directors have the gift of finding a way to show it and tell the story, in a way that brings in the audience.