Best 1750 quotes in «directors quotes» category

And people say it all the time: 'You're a celebrity.' No, I'm an actor. I'm a producer. I'm a director. I'm a toad. I'm roadkill. I'm anything but a celebrity.

And then, with a European director and Norwegian actors speaking in Norwegian, it was going to be very interesting. So, whatever initial trepidation or fear I may have had was alleviated by those factors. I just said, "This is something to get on board with.

And there was a very famous man called Michael Powell, who probably is the greatest director all round, except possibly a couple of men.

And when I have lived elsewhere, every two weeks I have to fly back to LA. Even New York directors go there to audition. So I have to be there to a degree.

An Ingmar Bergman film would probably owe a sizeable bulk of its import and its direction and its quality to the directorial end and to the director because it's uniquely a Bergman film. But that again is not the general - no, that's much more the exception than the rule.

Another mistake a director can make is not to be prepared, so you get there on the day to shoot the scene, and they don't know how it should be blocked, and they're not clear on how they want to do a scene.

Any director will tell you, no matter how big his budget, that it's always the budget and the day count.

Any director, if you really ask them, will tell you that the toughest thing to do is like a dinner table or a dialogue scene because you need to keep that electricity maintained throughout the course of the film.

Any good movie is filled with secrets. If a director doesn't leave anything unsaid, it's a lousy picture. If a picture's unsaid, it's a lousy picture. If a picture is good, it's mysterious, with things unsaid.

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

A poet needs a pen, a painter a brush, and a director an army.

As a 25 year director of a non-profit program I began to see the need to shift from only doing projects/programs to also doing policy work.

Arnold and Jamie Lee must have worked over the years with directors that did 50 takes, because I'd get like three takes or so and say, Ok, that's it, we're done.

As a director and an actor, it is very difficult to say "this person was better than another person." I judge by chemistry of the actors but it is difficult being a judge. I will never bash any of the actors.

As a director, I do very few takes, because I feel like you hire the right actor and they'll do the job right. And the directors that I've worked with and had the best luck with - Jason and [ Steven] Soderbergh and the Coen brothers - all have been that kind of director.

As a director, I have to feel realism from actors, and they can't be plastic.

As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.

As a director, you should choose a project that will educate you and enrich your life, because you're going to be doing it for two years.

As a director, you try to find what is creative.

As a first time director it's interesting, but not all that different from what I did before. A lot of parts of this job seem to be very similar to running a big company.

As a director, if you know what you want, then it's not scary.

As a director, I have to feel realism from actors, and they can't be plastic. The words for me are secondary, but the chemistry between the actors is most important. However, you have to go by the script because it's related to production, otherwise you will not finish your project.

As a director, I really wanted to learn and I needed to get away from my own stuff to figure out how to just do things and work with good people.

As a director, my job is to protect. I protect scripts, actors, cameramen, designers.

As a director, you always want things to look good. You're always trying to make things look tidy. That's what we're all trained to do.

As a director you have to be careful you don't over-design the film. You have to be careful that the period aspect does not take over.

As a director, you just have to kind of like just get through the first project before starting on the next one.

As a director, you're only as good as your collaborators. You surround with collaborators that are going to understand what you're trying to do. Not only that, they're going to push and fight for what you're trying to do.

As a consumer of entertainment, as a director, I'm always interested in questions of identity and who someone is and how they're perceived and who they are versus who they thought they'd be.

As a director, I get to have a much broader creative expression than as an actress.

As a director, it's my job to provoke, and when people decided 'The Room' be called a phenomenon, or whatever you call it, it's fine with me.

As a director, or just a film fan who wants to enjoy the festival, Cannes is the worst place to be. But it must be a paradise for distributors and importers.

As a director, try to be humble and not to overdo it, not overcoverage and over-covering the scene.

As a director who does not like to write, I am always looking for scripts that I can contribute to through directing. I don't want to do the same thing that the writer is doing; I want to add an angle or highlight a theme.

As a director, you've got to have quite a few projects going because you never know which one will actually come together with the financing and get the green light.

As an actor, I look at scenes much differently than I would look at them as a director, and I never realized that until it actually happened.

As an actor, I love working with directors. As much as I love working with other actors.

As an actor, I'm attracted to drama; as a director, it's humor - because it's the story of my life, and I can't be that serious about it. Being alone is a big theme in all my movies, both as a director and as an actress.

As an actor we're just like workers in a factory, we provide our services to directors.

As an actor, when you walk into a room to audition, you get five minutes with a casting director, who doesn't even look at you, most of the time.

As an actor, you only get to work 15 minutes an hour; as a director you're fully immersed. It's incredibly more complex and challenging and I love it. I'm sort of a glutton for work and to direct something that I'm acting in feeds the vein.

As an artist, program directors always want to put you in a little box.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.

As a director, I like trying to unlock the subtext of the scene and try to put the camera in a place that helps that.

As a director, you have to understand what is happening - if I don't understand it, you can't make changes.

As a filmmaker, it's about surviving and lasting. So many talented people that I've known in my life - directors and writers - just haven't made it and haven't had a chance.

As a first-time director in America, I feel I've been very fortunate.

As a director I always look at someone's eyes. How truthful are they? Will this person take me on this journey?

As a film director I like to have the actors create their own close-ups. It's an older style of filmmaking.

As a director myself, you want to have colleagues and collaborators that respect your authority as the director. I'm very comfortable with that, and I've done a lot of work in second unit.