Best 1750 quotes in «directors quotes» category

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 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 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 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 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 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.

I had never thought of myself as a director and found out that I was not. I am a writer who was able to direct the films that I write.

I had no idea whether I could play 'em or not, but I wanted to and I was very determined... but the band director said #That's not really normal.' Of course, all you have to tell me is that something's not normal and I'll go for it!!

I had not been very kind to J. Edgar Hoover. And the field agent had written on - it was sent directly to Hoover - that - the director should see this - `And, besides, Hentoff is a lousy writer.' And I thought that went a bit far.

I had one well known director who kept saying, "Now Clint, this is what ...." And I'd say, "I know. I read the script. I'm the one who cast you as the director. Let me show you and you'll correct me if I'm wrong.

I hadn't studied theatre and I hadn't studied actor training or anything, but I did have a sense of movement and composition, and what the final product would be like, but luckily I had friends who were good actors, who would help me get them, who would get themselves to the place where a good director should get them to build characters.

I had no natural gift to be anything - not an athlete, not an actor, not a writer, not a director, a painter of garden porches - not anything. So I've worked really hard, because nothing ever came easily to me.

I had pictured myself as a filmmaker but I had never pictured myself as a director if that makes any sense at all.

I had to be naked [in Vinyl], but I was almost more nervous about having to be drunk. The director wasn't going to yell, "Too big!," during the nude scene. For the drunk scene, you can be bad drunk or good drunk. We'll see. My wife was not happy, hearing about it.

I had to endure the worst time of all in terms of racial discrimination in Hollywood when i first started out. It was inconcievable to American directors and producers that a Mexican woman could have a lead role.

I had to go and sing with the musical director of the film, Simon Lee, who is just incredible, and it went great. I sang with him about five things, things we'd worked on. And then I went to sing for Andrew Lloyd Weber.

I hardly know so melancholy a reflection as that parents are necessarily the sole directors of the management of children, whether they have or have not judgment, penetration or taste to perform the task.

I hate the word 'production'...it's a ceremony, it's a ritual...you should go out of the theatre stronger and more human than when you went in.

I have always been a great fan of Peter Chan and many other great directors who specialize in anything outside of action.

I have always credited the writer of the original material above the title: Mario Puzo's The Godfather, Bram Stoker's Dracula, or John Grisham's The Rainmaker. I felt that I didn't have the right to Francis Coppola's anything unless I had written the story and the screenplay.

I have a problem with writer/directors, personal. I can't work well with both of them on the set, if both of them are giving instructions. Writers tend to be in love with what they wrote. You can't always translate the words into the meaning, sometimes the meaning is better served without the words, difficult to make a writer to try to understand that. It gets, sometimes, tense.

I have an association that director means total authority. Director means they will never let you down. Director means just trust them and fulfill their vision, and know that the story will be told in its best incarnation.

I have a real thing for Mexican directors. And I love Guillermo del Toro and Alejandro Gonzalez Inarritu.

I have a side of me that doesn't care. I really enjoy physical comedy, thinking of an idea and pitching it to the director.

I have been incredibly fortunate to be able to work with good directors and for me it's not really a plan each time I'm on a set with one of them; I think about what I can learn from them because I'm very aware that my filmmaking skills are very modest.

I have been a director who has starred, participated on both sides of the filmmaking process.

I have my set rigged with the biggest sound system possible and have a mini jack for my iPod attached to my director's chair. I find playing music is a very direct way to communicate with actors and the crew, especially those crew members who are on the periphery of the set. I like dancing on set too, it's a good way to release tension.

I have half a dozen designers who work for me, they 'realise' most of the design work, and I act as the design director and the main point of client contact on each project.

I have many valentines. My mom and my sister and my directors. I got calls from all of them. And my friends. I respect what Valentine's Day stands for because it is about love

I have done films where we all thought the director didn't know what he was doing and it is going to be a gobble gobble turkey. And you go and watch it and it is great.

I have known Tarell Alvin McCraney for ten years but the involvement with Moonlight came more with Barry Jenkins, the director. He was a fan of the show I did called The Knick. He was also with Plan B Entertainment, who produced Selma. That is how I got involved.

I have never watched property programmes. I watch Property Ladder, because I feel it's very rude for a director to work very hard on a programme and you can't be bothered to even watch it. So I do watch it, but I have to turn away when I'm on screen. It's quite unpleasant seeing myself up there.

I have zero tolerance for people who don't come completely prepared. I expect contribution, I expect attendance, and I expect directors to take trips and visit the company's programs.

I have worked with another first-time director who was not that open, and it was probably one of the worst experiences I ever had, so my antennas are really out.

I have such amazing memories [about The Hotel New Hampshire movie], because Tony Richardson was such an amazing director, and the subject matter was so bizarre, and yet it was the most sought-after part at that moment. And then it had the good fortune to come out on the same day as Splash.

I have written screenplays. Most recently for Errol Morris, who was thinking about doing his first fiction movie, and with a young director who wanted to adopt Project X. Errol was a hoot. I loved talking with him. We were a good match, too, because we both kept joking that we'd found the only other person on earth more ambivalent than we were about the project.

I kind of have an interest in all history. And I suspect it comes from being Irish - we like stories, we like telling stories, which makes a lot of us lean towards being writers or actors or directors.

I joke around sometimes and say that the DP [director of photography] is like a shrink for the director, but there's some truth in there.

I just think there are a lot of celebrities who don't feel that they have a voice. A lot of actors come from a place of fear, and that's just a general statement about actors. You're terrified the casting director won't like you, you're terrified the producer won't like you, you're terrified the director won't like you, and on and on.

I just want to do everything. As broad as that seems, it's kind of the plan. There are so many different genres out there to do, so many different characters to play, so many different amazing actors and directors to work with. I'm just following my gut, and if it's speaking to me, then I'm doing it.

I kind of end up getting caught up in whatever the rhythm of the movie is and how open the director is to changing things in the moment or finding it in rehearsal.

I knew that's where I was going. I knew we were going to Italy. You couldn't make this movie in America at this price. I knew it was going to be big. I knew there was going to be a ship involved and that there was going to be a set as big as the ship. I thought, well, here we go. But I knew that was where he was headed. He had been going this way for some time. All directors, once they have some success, they want to spend a whole heck of a lot of money. (Something else can't hear.)

I hooked up with director Jacques Audiard for this film called 'Rust & Bone' with Marion Cotillard. I loved that experience so much I'm truly sad that it's over!

I imagine as an axiom you could say that the better the play, the less "creativity" the director need exert.

I just do things because I fancy the parts and the directors.

I just realized that I need to be a director - for two reasons. One, directors were already my heroes at this point. I wanted to; when I wanted to be an actor I wanted to work with this director. Not work with this actor, I wanted to work for this director.