Best 1750 quotes in «directors quotes» category

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.

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

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

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

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.

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.

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

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.

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.

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.

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.

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.

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

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

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.

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.

Snoop Scorsese, that's my director name.

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 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.

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.

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.

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

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, 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 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.

Some of the screen's best moments were realized because a director went against all reason, all logic. No matter how incredible a story seems, it can be made credible. If you feel an insane idea strongly enough, you've usually got something.

Some people feel like you need to have a very specialized understanding of music to have the authority to talk about it. They are such good directors that it's perfectly possible to have conceptual and directorial and storytelling conversations about music without needing to know all the technical pieces.

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.

Somehow, we [ Tan Dun and director Chen Kaige] were all privileged at the time; we could be outside of China. But at the moment, we had no sense of what the future was going to be like.

Sometimes directors may not give you words, you know? They may not talk at all! You've just got to use your radar to figure out how you can get to the center and not lose yourself, but still be directed at the same time.

Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can't leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.

Sometimes directors feel like they have to justify that hat that they are wearing they've got on as a director, and they come in and they tweak and interfere.

Sometimes directors will hire you and say, 'Oh, we love your work.' And then they start to tell you how to do it. I say, 'Hey, man, back off. You hired me to do it. Let me do it.'

Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.

Sometimes I get insecure about being a real director because I look at the great directors, and they have such command. But maybe that keeps me critical of myself. Maybe it keeps me moving forward.

Sometimes I call directors. Sometimes I just meet with them. It just happens. It's not that I'm pushy. It comes naturally. But I go ahead. I don't stay in my armchair, waiting for the phone to ring.

Some things you know about, you know what the ingredients are - maybe not all of them. But it's up to you to put in the amount. It's up to the director to nag you until you get it right.

Sometimes I take the watch, or I take the shoes, but usually the souvenir is to take the life you had with those directors, or the crew - the camera person, the lighting person. When you finish a film it's like a little death. You had a family for a bit, and you finish the movie and you probably will never see each other again.

Sometimes the director will want you to write about the character, sometimes he'll want you to live in the location that the character is from or something like that, but I don't usually make a lot of notes or anything like that.

Sometimes the odds are against you-the director doesn't know what the hell he's doing, or something falls apart in the production, or you're working with an actor who's just unbearable.

Sometimes the shots serve as homages to other movies and other directors, like Hitchcock.

Sometimes I'll go for something more because of the story, or more because of the director. But, generally, I have to feel like it's something that I have a real sympathy for - a person that I can completely go, "Oh, wow, oh, I'm there." Otherwise I don't feel like I will be able to pull it off at all. I know I haven't done everything very well in the past; some things have worked and some things haven't. But I need to feel like I can feel about the person, understand that person, I suppose.

Sometimes, with directors, you have to take what they say and translate it in your head, into something that makes sense to you, because you're speaking two different languages.