Best 1750 quotes in «directors quotes» category

All the directors that I've had the opportunity to work with are fantastic.

All the films are hits before you turn the camera on. It's only in the execution that they fail. I've been less than happy with the way a couple of films were edited, but it's a director's prerogative and you gotta go with it.

All the great advances in cinema came about from technology. The 3-D camera was not invented by a movie director. The new industries are driven by the innovations in science and technology.

All these directors who do different locations forget that one room can be shot from a million different angles and a million different ways. When I direct a movie, I'm going to use that.

All you can really do as director is sort of set a tone.

A lot of directors are overbearing and tend to make you doubt your instincts.

A lot of directors idealize their leading ladies or turn them into these objects of sexuality and beauty.

A lot of actors aren't particularly good directors. And they're not particularly good with other actors. That's kind of a fallacy.

A lot of directors prefer the solitude of the editing process, but I revel in the craziness of what a film set is.

A lot of directors don't know what they want to do. Every director I've seen that was a good director that I've admired knew exactly what he wanted to do. They didn't sit there and think about it.

A lot of film directors are quite scared of actors. They are a bit of a nightmare sometimes, but I like them. It looks like cunning, but you try to get extra things from them all the time, by stealth, by making them feel confident, so they trust you and you can push a bit.

A lot of directors don't want the pressure of a movie the size of Pearl Harbor. But I love it. I thrive on it.

A lot of new American directors have had mentors who have given them advice. And some of them have had the way paved for them by huge Hollywood directors who saw a younger version of themselves.

A lot of solo directors have a really strong creative producer with them. Jay and I have less of a need for that because we have each other.

A lot of student directors used to pick other students to be in their graduate films, so. I ended up doing a couple of them just for fun. Eventually, I got an agent through a friend and I did some commercials; then I got Knots Landing.

A lot of really good directors have a killer in them, as if they'd do anything to get that image. But that comes with the terrain and I don't mind it.

A lot of times, actors and directors don't want to repeat something. I don't think we're repeating something, but I think there's certainly a genre that we're in, and we're happy to embrace it.

A lot of times the character's experience is not in accordance with the tone of the movie and it's not really my job to account for the tone of the movie. That's the director's job.

A lot of times passion projects or films are difficult to make because they don't have proven directors attached to them.

A lot of young directors, they're not confident; they're not open to the emotional level of the scene.

Although filmmaking is collaborative and involves trust, ultimately it is the director who holds the whole picture together in their head.

Among today's directors I'm of course impressed by Steven Spielberg and Scorsese, and Coppola, even if he seems to have ceased making films, and Steven Soderbergh - they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic is amazing. Another great couple of examples of the strength of American cinema is American Beauty and Magnolia.

A million pounds sounds like a lot of money now that I'm saying it. But in terms of moviemaking, it's not a lot of money. And yet you can see what can be done with that, with the talent of a great cinematographer and great director and actors.

An appreciable number of directors have shifted to lower-cost films, allowing them to be satisfied with a more modest return.

A movie has its own fate, which often doesn’t depend on the performances of the director and actors.

An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.

A musical is only as good as its director. The same can also be said for the CIA.

An actor and a [theatre] director are both what I would call interpreters of work. We interpret a work, just as a musician will interpret a composer's work, we interpret the work of a playwright. We are servants of the theatre and I've always believed that. We must serve what has been written, that's what we're there for.

And also, Sergio Leone was considered in Italy a director of category B, not a big director.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

And I think being a good director is being able to be completely tyrannical and you?ve got to be an absolute dictator while at the same time, you have to listen and see everything because it can all change on a dime.

And I just want to work with good directors and good people.

And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.

And Louis Freeh was a completely dysfunctional FBI Director, who was actually waging his own private war against the Clinton Administration.

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

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

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, 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.

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.

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 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 have to feel realism from actors, and they can't be plastic.

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.

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.