Best 1750 quotes in «directors quotes» category

Those who have themselves for a spiritual director have a fool for a spiritual director.

Time is a precious thing. Never waste it.

Time management is a big part of the director's job.

To allow the market mechanism to be the sole director of the fate of human beings and their natural environment....would result in the demolition of society.

To be a film director is not a democracy, it's really a tyranny. You're the head of the project, for better rather than worse. I write the film and I direct the film, I decide who's going to be in it, I decide on the editing, I put in the music from my own record collection.

To be a great director, what does it mean exactly? It's not only about a great director, but also about being able to rely on the very special chemistry that goes between them. It not only has to be a great director, but the great director has to make his relationship to you, the actor, very special.

To be honest, I don't usually do very much research, especially if I'm working with a director who also wrote the screenplay. They've usually done a tonne of research. And they'll tell you about it from their perspective which is better than doing your own research.

To be honest with you, a lot of directors can be very lazy.

To be that big of a star and that grounded and that classy, I'm mean [ George Clooney] was a true mentor for me and, as a director, he's incredible.

Todd [Phillips] doesn't care. That's part of his genius as a director, he will say anything to anybody.

To deny women directors, as I suspect is happening in the States, is to deny the feminine vision.

To have a museum like the Museum of Modern Art in New York is to have power. I don't have any interest in being the director of an institution that has power.

To learn bad dialogue is so difficult and so boring, and to work with a stupid director who tells you to do the wrong thing, etcetera, it's just unbearable.

To make a great film you need three things - the script, the script and the script.

To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.

To me the director’s job is to leave it in better shape than you found it, literally.

Tony Scott was one of the best directors Ive ever worked with, and I was devastated when I heard about his death. He was a great guy with great energy. But this is a difficult business, and peoples lives are sometimes difficult.

To me, one of the main things that a director does is create the tone of his movie.

To televisionize any serious problem, the program directors face the task of making the message 'go down smooth' until the audience is delivered to the commercial.

To suddenly be working with one of the top-10 directors in the world, plus the film was in China, I almost blurted out, "How much do I have to pay?" It was just like a dream come true. That was an amazing experience.

TV is generally an unfriendly environment for directors because you're expected to come in and tell a story in the voice of the show that already exists, and just fill in the blanks and then submit it back.

Truthfully, most directors don't direct actors. Every actor is different, so when you're asked, "How do you approach an actor?," it depends on the actor. With some, you do nothing. With some, you're very specific.

TV and film are very different media with different requirements. In a TV show, you have actors and fellow writers and directors, who are interpreting your work. With a novel, you only have ink, words and your reader.

TV directors just aren't sexy for some reason, Although, you know, Rob and Kim [Manners] are very sexy in my eyes.

TV, it's a director's medium, and they wanna make it look interesting. To be rehearsing mostly for the sake of where you're standing so they can do the lighting, that's what I don't like.

Twelve years on sets watching directors, I've taken a bit from everybody and rejected a lot.

Ultimately, a more experienced director realizes that you've got to stop sometime and just move on. They're braver about that.

Typically, among the audience members joining the actors, the director, Ann Ciccolella and myself, about half of these theater goers have read the novel [Anthem], and half have not read it. That is interesting.

Unless you're a directing producer of a television show, for the most part, the director comes in one week to direct and episode, and then leaves. I'd much rather produce television and occasionally direct an episode of a show I'm producing, then just come in as an outside director.

Unfortunately, in Hollywood, there are those directors that have some contempt for actors. We've all experienced that, in one way or another.

Unfortunately they're practically all dead. And many were my closest associates: friends, co-directors, whatever you want to say - my partners in crime.

Unlike a lot of British directors, I hadn't done any theater. But, I had a great mentor who said, "What you're looking for is exactly the same thing you've done in your documentaries, which is moments of emotional truth.

Virtue needs a director and guide. Vice can be learned even without a teacher.

Very broadly speaking, you can put directors into two areas: One for whom you work, and the other with whom you work. And I prefer the latter, for obvious reasons.

Usually when you meet with a director, just meeting them after you've seen something you're interested in, they say, "Oh I'd love to work together," and sometimes you never hear from them again.

Voting wouldn't excite me unless it included electing the directors of the big banks and corporations, who make the real decisions that affect our lives. It's hard to get excited about the trained seals in Washington.

Voyeurism is a director's job description. It's an artist's, too.

We haven't seen a situation where you have the FBI director talk about an investigation side by side with the attorney general who confirms, yes, I accept the recommendation of the FBI director.

Watching the news inspires me to keep going and reminds me why I should never complain. I'm inspired by those who don't let others define them: Martin Luther King Jr., James Dean, Vincent Van Gogh, Hillary Clinton, Tennessee Williams, director Steve McQueen. They've all changed the conversation by making their voices heard.

We all steal, but if we're smart we steal from great directors. Then, we can call it influence.

We had a work session [in "Moneyball"] where about 30 scouts came in and we're all riffing. And after it, [director] Bennett Miller said: Look at these faces and this is what we have to got to do. We got to get these guys in the scene.

We all like indie directors - heck, I even married one... but we're divorced now.

We do have American Idiot picked up by HBO and I wrote the record and concept to it. [We have] the writer Rolin Jones and [director] Michael Mayer [who also directed the Broadway production], so we'll see what happens.

We knew, very early on, that we had to be very, very clear that directors need to speak to actors and actresses and be very clear about what is expected, and find out whether they're comfortable with that. Wardrobe has to be in place. There have to be checks.

What a director does... essentially, it's storytelling, but a director also controls the feeling and the sounds and the texture. It's an act of creation, like a symphony or a painting or a story. But with different tools.

Well, if you ask any filmmaker how they got into it, everyone came a different route. Ive never actually watched another director work.

Well, there's a great Marlon Brando quote that to do something well you have to spiritually marry your director. You have to be making the same movie they are in that you have to try to help their imagination be better, and more full, and more fully realized, but you can't have a different imagination because then you end up - and you see this a lot in movies - where it feels like they were making five different films.

We make a contract within ourselves as actors or directors or writers about how much of ourselves we let into projects. You can actually figure out before you work on something how much blood you will have to let emotionally.

Were I not married to the director, I'm not sure I'd know anything about the 'Underworld' sequel.

Well, it's so cheesy to say but you can't find a comedy director who makes movies for critics. When a movie does $580 million worldwide, I'm not saying that proves anything except people were enjoying the experience.