Best 1750 quotes in «directors quotes» category

I know that some actors and directors like to have intensity on set. I don't, particularly. Certainly, if they want that, that's fine, but I can't work like that.

I know you can't see it, not you, Ed, but maybe if I tell you the whole plot you'll understand it this once, because even now I want you to see it. I don't love you anymore, of course I don't, but there's still something I can show you. You know I want to be a director, but you never truly see the movies in my head and that, Ed, is why we broke up.

I learned a lot from Clint [Eastwood], who's an extremely economic director. I learned a lot from Michael Winterbottom, who really gave a lot of trust in the actors and allowed them to live in the space instead of trying to manipulate and make it too set and too staged. Working with [Robert] De Niro taught me a lot of being an actors' director and what that is. I've learned a lot from pretty much everybody. Hopefully I've picked up something from everybody I've worked with.

I learned that you really don't have any control as a writer. Waah, waah, waah. Big deal. Unless you're the director on the movie, or putting up the money for the movie, you really don't have a lot of control. As someone who's just writing scripts, you just kind of have to shrug. I have no problems or issues with screenwriting in general. It is what it is.

I like a director who is very observant and is watching what I'm doing and noticing what I'm doing, but is giving me time to figure it out. They don't jump right in and give you a note before you've had time to really search on your own with how to do a scene.

I like a director that encourages me to be playful. I don't really like being restricted or controlled by a director.

I like bold directors. I like directors that go against the norm in a way.

I like, as a director and a spectator, simple, direct, frank films. Nothing disgusts me more than snobbism, mannerism, technical gratuity... and, most of all, intellectualism.

I like directors that give their composer a juicy role in their films. Some films have a small, minor role for music, some have a larger role.

I like doing commentary. As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things. I often like the technical commentaries myself.

I like directors who come on the set and create something that's a little dangerous, difficult or unusual.

I like great directors who are scarce. Prolific ones are nice too but for me, there's something about the scarcity that makes it all the more valuable.

I like meeting directors. It can be helpful because sometimes when you meet filmmakers you find out if you like them and if they like you, and that is important in terms of considering a role. Choosing a role is all about whether I relate to the role and the story really. That's the criteria.

I like the conscious manipulation that a great director can have. When you're both complicit in the manipulation of an emotion.

I like to be cast well and then I like to be left alone. And good directors, that's generally what they do when they hire you because you have something that's useful to the part, and then they leave you alone. The times that I've run into trouble is when, very rare actually, but you get hired and then there's some sort of makeover involved.

I like the old school heavy metal bands like AC/DC and Aeromith. I like that type of music. As the director, I tried to influence the type of music the bands in the movie would play.

I like to think of myself as a fairly educated human being, but I'm a very uneducated actor when it comes to movies, directors, producers, actors for that matter.

I like working with different directors; it keeps you on your toes.

I'll be in #‎ Jharkhand along with Kaustav Narayan Niyogi, who is directing the film and my director of photography for location hunting. I want to lock the locations before Christmas as everyone goes into vacation mode after that.

I'll always be attached to telly in one way or another, whether it's a character or producer or director, I just love the medium.

I look at the script first and who's directing it and then talk to the director to find out what his vision of the movie is and if it matches my vision and then we go after it.

I look at life as being cruise director on the Titanic. I may not get there, but I'm going first class.

I look at the stories that Spike Lee tells... Great stories. Great director, great storyteller.

I look for a director with a script he likes a lot, but I'm probably after the directors more than anything.

I look for something that grabs me and that's heartfelt, and that's coming from a good place. I want to work with good actors and with directors that I can learn from.

I look for the character to be something interesting, the script to have a good story and be original, and a director that I admire.

I love being on sets with very seasoned directors as well as very new directors. Every time is a discovery process. You learn something new every time.

I love being on set, because I've basically grown up on a set. And now I love to contribute as a director and help steer the ship, if you will.

I love Ben Affleck so much. He's an amazing director.

I love animals. With animals you never know what you're getting. Everybody says don't mess with animals and little kids in movies but those are the funniest things because you can't be in control. I like to lose control as a director.

I love British female directors lately.

I loved cinema while growing up and, for the longest time, wanted to be a director.

I love doing big movies. It's awesome! You have all these toys. The thing I like about this movie is, like they always say, directors have the biggest train sets! Don't tell anyone, but I'd do this for free.

I love rehearsing, but a lot of directors don't, and some actors don't.

I love films. I love fiction films, too. I do. I love making them, but it has to be the right one. Hopefully, I'll never become a director for hire. It's horrible to make a film that you're not really interested in.

I love Sam Mendes. He's a fantastic director.

I love having a master. I have no problem serving my director. That's my job. I want to make them happy.

I love producing. My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I'd like to build something to that effect.

I love test screenings. Some directors don't, I know. But I love it. I think it's because I come from the theatre and in the theatre, previews are where you really have to listen to the audience and really feel how they're responding. I found our test screenings incredibly useful.

I love supporting emerging voices, and new writers and directors. I love engaging an audience in a way that doesn't have to involve me, personally, and yet still generates an experience for groups of people.

I love the act of writing. I like the quiet, internal aspect of it. If I lost track of that, I couldn't direct the same way. I couldn't be a director for-hire; it's just not my nature.

I love the Japanese director Shohei Imamura. His masterpiece in 1979 called, the English title was 'Vengeance is Mine'.

I love those films where I feel the director's confidence - where he doesn't need to overdo it with the shots and the cuts.

I love to tell stories and I love to work with directors and I think I write really visually, which I think directors like, and I love making movies, so I found something that I'm good at and I'm really happy doing.

I'm actually one who will encourage directors to cut my lines.

I love working with women - I love women - and we need more women directors. We need more feminine sensibilities in movies.

I love working with the same actors repeatedly. That happens a lot. It's kind of inevitable, especially if you work with the same writers and directors and you start to form a company of actors. You gravitate towards each other.

I'm a control freak, so that's why I became a director.

I made the transition to directing documentaries with the great help of my Co-Director on The World According to Sesame Street, Linda Hawkins Costigan. She was a gracious teacher, and a wonderful collaborator.

I love working fast. I don't relish the director who wants to do 25 to 30 takes, or the actors who insist on doing 25 or 30 takes.