Best 1750 quotes in «directors quotes» category

Farmiga proves as fearless a director as she is an actress. She lights up Higher Ground.

Fathering is a major job, but I need both things in my life: my job to be a director, and my kids to direct me.

Favourite directors change, like favorite authors. I had a passion for Gide and Stein and Faulkner. But now they're no use to me anymore. I've assimilated them - so, enough, they are a closed chapter. This also applies to film directors.

Fifty-percent of the director's job honestly is casting the movie well.

[Fifty Shades Darker director] James Foley directed Fear. And that's what I love about this film, because it has a real sexy thriller element about it.

Filmmaking is a creative process so there is a lot of collaboration that happens on set between an actor and director, but at the end of the day, we're there to actualize the director's vision and things happen organically.

Film buffs who don't live in Hollywood have a fantasy about what it's like to be a director. Movies and the people who make movies have such glamour associated with them. But the truth is, it's not like that. It's very different. It's hard work.

Film is the manipulative medium par excellence. When you think back on the history of film and the 20th century, you see the propaganda that's been made. So there are moral demands on the director to treat the spectators as seriously as he or she takes himself and not to see them merely as victims that can be manipulated to whatever ends they have.

Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.

Film works when a director and a star have a connection. You know, when there's something telekinetic between them, there's a partnership, it's like alter egos. It's like James Stewart and Alfred Hitchcock, or Fellini and Mastroianni. I'm not comparing, I'm just saying, if you can come into a relationship where the director and star have such a bond, it's so much easier to make a movie.

Film's hard when you don't have any relationship with the director at all and you just show up. Then you really are just a gun for hire.

First, there has been a lot of interest in The Drive-in, but, alas, it hasn't actually come to fruition. Maybe soon. Don really got Bubba and I didn't think it could be a film. I thought it was too odd to make it to film. He asked me to do the screenplay, but I declined. I didn't see that it could be a screenplay but he wrote one and proved me wrong. He was always considerate about what I thought about the film and the story's presentation, but in the end, he's the director and he had to make decisions. All good ones.

For any director with a little lucidity, masterpieces are films that come to you by accident.

For a director and a producer to be named on the writing credits is practically unheard of.

For a director, the most challenging scenes are the dialogue scenes.

For any role, I pretty much always go to the script, first and foremost.

Force Majeure is a jolt. You won't know what hit you. Director Ostlund shifts gears from humor to psychological thriller with cunning skill.

For me, being a director is about watching, not about telling people what to do. Or maybe it's like being a mirror; if they didn't have me to look at, they wouldn't be able to put the make-up on.

For film, I audition just like everyone else, because it's a different set of casting directors.

For me, a director is a director immaterial of the gender. At the end of the day, the audience is only interested in watching a good film.

For many years, my favorite director has been the Japanese giant Akira Kurosawa.

For me, each film, each script is like a little journey in itself, and I'm reinventing the wheel. It's like how do I make this film. That's part of the pleasure and that's why I'm not a normal professional director.

For my first movie, I think my first cut was like three hours, because when you first direct a movie, you want to keep everything. But I'm not one of those directors who falls in love with the stuff they've done. Already when I'm doing my first cut, I'm willing to cut out everything that is necessary.

For me, the greatest kind of success that I've had on a particular project or in exploring a role does come through collaboration. I wouldn't want to do a movie where everything I do the director just says, "Good job" and I'm under directed.

For most directors, the scriptwriter is about as welcome on set as a member of the Taliban.

For me, creatively, I'd suffocate if I played the same thing, over and over again. I want challenges. I want to sit down with a director and be like, "I've never done this before, but it's going to be exciting. It's scary, but really thrilling, so let's do it!

For me to get to work with a writer-director over time in developing a project - my investment feels much more profound. I know that whatever is on the other end I'm going to feel that much closer to.

Frankly, I was extremely jealous of his scenes with Zoe Saldana and I think it's totally unfair that I never got to do that. I will never forgive the writers and the director, for having put me in this position, to have to be watching that, rather than participating.

Frank Capra, Hollywood's Horatio Alger, lights with more cinematic know-how and zeal than any other director to convince movie audiences that American life is exactly like the 'Saturday Evening Post' covers of Norman Rockwell. 'It's A Wonderful Life,' the latest example of Capracorn, shows his art at a hysterical pitch.

Frank Miller is more of a visionary than any director I've ever worked with, and he achieves that vision better than anyone I've ever worked with.

For us, as actors, and even for the director, it gave us a sense of authenticity to what we were doing because we were talking about Hollywood and we were in Hollywood.

For 'Vicky Cristina Barcelona,' for example, Woody Allen is one of the greatest American directors, and we really had a very good working relationship. We understand each other really well. He gave me one of the best opportunities somebody has ever given me in my career.

Get more women producers, writers, directors. Why should we expect men to do it for us? They can't

From John Huston to Fred Zinnemann and Richard Fleischer and all those great American directors.

From my experience as an actor, choreographer, action director, and producer, I understand the elements and the dynamics of being a film maker.

From a director's point of view, if I can create different characters which impress the audience, that's fantastic for me.

Getting movies made is not as difficult as people think. Making movies is easy. You get a script, you get a director, you raise the money, you make the movie.

Getting the role in '300' saved me. I'd been out of work for 11 months after 'The Brothers Grimm.' Once the film came out and didn't do so well, the director Terry Gilliam blamed me for absolutely everything. It was pretty appalling, and I had started to wonder if I'd ever get another job again when I was asked to audition for '300.

Give me a good script, and I'll be a hundred times better as a director.

Getting back in the directors chair - there's a sense of like doing something every year. It's not like riding a bike, you're always learning new things, you're gonna face new challenges and when you face new challenges you'll have an answer for them.

Good directors can bring certain things out of you, with their intensity or gentleness or sensitivity or understanding. They can make an actor feel he can do no wrong.

Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.

Good evening, ladies and gentleman. My name is Orson Welles. I am an actor. I am a writer. I am a producer. I am a director. I am a magician. I appear onstage and on the radio. Why are there so many of me and so few of you?

God gave me a great body and it's my duty to take care of my physical temple.

Good, bad mediocre or whatever it is, if a director wants me in his movie, I take it as a compliment.

Granted, the writers, directors, producers, and that community make a great deal of money. But they might be choosing to do a whole lot of other things for the living they make.

Great directors turn in mediocre work and first-time directors turn in exceptional work. No matter how good a person can talk about what he wants, you never know.

Great directors can understand the staging in such a way that can make a scene come alive. Others have a certain way of pacing the scene.

Having been a child actor, I remember how directors would trick me to get good performances out of me. I don't think you need to do that.

Guy Ritchie is the worst screenwriter in the world, but, to be fair, he is not the worst director. He is only the worst director of the people who actually get to make movies. As we speak, there are human beings walking the Earth - perhaps as many as a half dozen of them - with less directorial talent, but they've been safely diverted into other activities.