Best 1750 quotes in «directors quotes» category

It's a writer's or director's role to be cerebral, whereas for an actor it should be a visceral, gut thing. When the action starts, it's best to turn the brain off and let it become an instinctual thing.

It's dangerous for one actor to advise another one, especially when you're not in charge. On the set, I'm never gonna tell another person, "Here's what I think you should do." That's a discussion they should only have with the writers, producers, and directors.

It's either because of the number of times the scholar puts the boot into Peter Jackson the director of The Lord of the Rings films or is making a point they have never heard of.

It's fun to do something funny and have the director laughing. It makes you feel good.

It's hard to be surprised by a film. It's hard to be surprised by another actor or by a director when you've seen enough and been around. So when I am, or when I forget that I'm watching someone's movie, or when I don't know how someone made a certain turn that I didn't expect... You know, I'm in.

It's hard on an actor when you have to do a scene 45 times and you know damn well that three of the angles a director is shooting will never make it into the movie.

It's hard to be reverent today when directors make films that are not as good. There will be time later, though, when their lesser films are forgotten and just focus on the greatness.

It's hard to give up that amount of control. It's scary to make yourself that vulnerable. Because you might do all kinds of things that are unplanned or are unexpected that maybe don't work, and you have to trust the director to see that and work around those things. I find it really scary.

It's important for me to work with a strong director because I know I can go to some really deep places, I just need direction on how to get there.

It's impossible to put your finger on what that is exactly other than protecting the environment that the actors get to find the scenes and build the scenes and invest in them. I think that's key and that's what I've learned from all the great directors I've worked with.

It's great the way the old-time directors used to manipulate the hell out of you. You see someone dying and all of a sudden a ghost would come out and they go walking hand in hand up the stairway.

It's great when improv is encouraged. It's a really fun thing. It depends on who's in the movie and how their process works, as well. It takes a director who is open to that because you have a script, but then something funny could happen on set. So, to have people around you who encourage improv is really exciting.

It's great working with directors and with somebody else's vision.

It's harder being a woman director because on the whole women don't have husbands or boyfriends who are willing to be wives

It's just unfair that talent of color aren't given the same opportunities as white and male actors, directors, producers, writers, et cetera.

It's fair to say that if you have a lot of experience, your power is greater. You have more of an opportunity to roll up your sleeves with younger directors.

It's not often that you get a director, singing the praises of his executives.

It's possible for me to make a bad movie out of a good script, but I can't make a good movie from a bad script.

It's pretty damning. That's Hillary Clinton juxtaposed against the FBI Director Comey yesterday, clearly illustrating she lied.

It's quite liberating to have a director stand beside the camera and say: "Do this now, and do that now..." It's also a bit sordid but it liberates an actor, I think.

It's often the case with directors that they don't like to share credit, which is the case of Stanley. He would prefer just A Film By Stanley Kubrick including music and everything.

It's very rare that you get a director that lets you be creative and bring what you feel your character should do or should be.

It was a movement that had all the art critics, all the museum directors in its thrall.

It was difficult every ten days having a new director. I'm a real collaborator and, as an actor, I want to be directed. It's hard for me to shift gears.

It was great having them around and I have to say pretty weird seeing them all grown up! Plus we have Jeremy Piven; and Ricky Gervais agreed to be in it and Antonio Banderas has a cameo in and that's a testament to Robert. He's such a good director and such a good guy. He gets everybody, because everyone wants to work with him.

It was very important to me to choose a director like Gary [Ross], whose instincts come from character, who's a storyteller, and who puts characters first.

It's kind of interesting to be a director who is all of a sudden being an actor playing an agent. This is my whole world!

It's seldom that you get to work with one director more than once. I've worked with Clint Eastwood three times, but that's the only one that's happened with, simply because I adore his work.

It's really rare for film directors to be that interested in things other than themselves.

It's so sad to me [see the director's versions of films] because it shows how the filmmaker never got to make the film he had originally envisioned. You watch it and go, "Oh my god, he had to cut that scene! I can't believe it.

It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack.

It's such an intimate experience, being a director, artistically. It's deep and it's satisfying and it's wonderful, on so many levels, but it's also really scary.

Its true, Im the youngest, highest-grossing French director. I have a few records, but no one knows or simply doesnt care. Thats good, because I like that. Ultimately, I want to keep working, making a lot of movies, and get better at it. Its about finding great scripts and bringing them to life.

It's turned into a world of amateurs. There are amateur actors making millions of dollars, amateur cinematographers, amateur directors... Jesus, these amateur directors can get deals for anything. Another comic book? Oh, very good.

It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.

It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.

It's very, very technical, what we do in film. While all of the lights are there and all of the crew members and directors are staring right at you, you have to be honest. It's a very difficult, but technical medium.

It's really hard as a screenwriter, you feel like you have a vision and then you turn it over to a director and you have to let it go.

I understood that I was not the best director in the world nor the worst director in the world. I realized that there is a very mysterious element to what works and what doesn't work in the theater. And it's good to know that from the beginning.

I understand the formula that producers hire directors and directors are hired to direct and actors are hired to act. I don't have any conflict with any directors because I know they're the boss.

I understand the directors much more. I was always rebelling against them when I was a youngster, I didn't want to be told what to do. I had no identification.

It would be horrible to be micro-managed! I don't think directors can really micro-manage people. It's just impossible.

I used to put that I studied with Stella Adler on my resume. I never met Stella Adler. But if you told a casting director you studied with Stella Adler all the sudden they'd let you in the door.

I used to get so worried that if a scene didn't go a certain way, then it was horrible. But then I realized that it was better to give the director options in the editing room than just being locked into how it's supposed to be.

I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.

I usually work with the director and it's just a collaboration between me and the one person. I think you make good movies that way. If the director and the composer can have this common goal and this excitement about making something great, then you're going to do something good.

I've actually been given a great gift. When I walk into an audition with a director, I'm carrying no baggage. They haven't seen me in anything, even though I've done nine films.

I've acted with all types, I've directed all types. What you want to understand as a director, is what actors have to offer. They'll get at it however they get at it. If you can understand that, you can get your work done.

I've always been passionately in love with movies, to such a degree that even as a young person of about nineteen or twenty I thought maybe I would try to become a film director. The reason I didn't do it was because I felt I didn't have the right personality. At that time in my life, I was mortally shy.

I've always had the utmost respect and awe of what the lens can do and what a director can do with just a camera move.