Best 1750 quotes in «directors quotes» category

It's pretty damning. That's Hillary Clinton juxtaposed against the FBI Director Comey yesterday, clearly illustrating she lied.

It's quite liberating to have a director stand beside the camera and say: "Do this now, and do that now..." It's also a bit sordid but it liberates an actor, I think.

It's really hard as a screenwriter, you feel like you have a vision and then you turn it over to a director and you have to let it go.

It's seldom that you get to work with one director more than once. I've worked with Clint Eastwood three times, but that's the only one that's happened with, simply because I adore his work.

It's really rare for film directors to be that interested in things other than themselves.

It's so sad to me [see the director's versions of films] because it shows how the filmmaker never got to make the film he had originally envisioned. You watch it and go, "Oh my god, he had to cut that scene! I can't believe it.

It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack.

It's such an intimate experience, being a director, artistically. It's deep and it's satisfying and it's wonderful, on so many levels, but it's also really scary.

Its true, Im the youngest, highest-grossing French director. I have a few records, but no one knows or simply doesnt care. Thats good, because I like that. Ultimately, I want to keep working, making a lot of movies, and get better at it. Its about finding great scripts and bringing them to life.

It's turned into a world of amateurs. There are amateur actors making millions of dollars, amateur cinematographers, amateur directors... Jesus, these amateur directors can get deals for anything. Another comic book? Oh, very good.

It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.

It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.

It's very, very technical, what we do in film. While all of the lights are there and all of the crew members and directors are staring right at you, you have to be honest. It's a very difficult, but technical medium.

It's very rare that you get a director that lets you be creative and bring what you feel your character should do or should be.

It was a movement that had all the art critics, all the museum directors in its thrall.

It was difficult every ten days having a new director. I'm a real collaborator and, as an actor, I want to be directed. It's hard for me to shift gears.

It was great having them around and I have to say pretty weird seeing them all grown up! Plus we have Jeremy Piven; and Ricky Gervais agreed to be in it and Antonio Banderas has a cameo in and that's a testament to Robert. He's such a good director and such a good guy. He gets everybody, because everyone wants to work with him.

It was very important to me to choose a director like Gary [Ross], whose instincts come from character, who's a storyteller, and who puts characters first.

It would be horrible to be micro-managed! I don't think directors can really micro-manage people. It's just impossible.

I understand the directors much more. I was always rebelling against them when I was a youngster, I didn't want to be told what to do. I had no identification.

I understood that I was not the best director in the world nor the worst director in the world. I realized that there is a very mysterious element to what works and what doesn't work in the theater. And it's good to know that from the beginning.

I understand the formula that producers hire directors and directors are hired to direct and actors are hired to act. I don't have any conflict with any directors because I know they're the boss.

I used to put that I studied with Stella Adler on my resume. I never met Stella Adler. But if you told a casting director you studied with Stella Adler all the sudden they'd let you in the door.

I used to get so worried that if a scene didn't go a certain way, then it was horrible. But then I realized that it was better to give the director options in the editing room than just being locked into how it's supposed to be.

I usually work with the director and it's just a collaboration between me and the one person. I think you make good movies that way. If the director and the composer can have this common goal and this excitement about making something great, then you're going to do something good.

I've acted with all types, I've directed all types. What you want to understand as a director, is what actors have to offer. They'll get at it however they get at it. If you can understand that, you can get your work done.

I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.

I've always been passionately in love with movies, to such a degree that even as a young person of about nineteen or twenty I thought maybe I would try to become a film director. The reason I didn't do it was because I felt I didn't have the right personality. At that time in my life, I was mortally shy.

I've actually been given a great gift. When I walk into an audition with a director, I'm carrying no baggage. They haven't seen me in anything, even though I've done nine films.

I've always felt it's the directors purview to say what; it's the actor's purview to say how. It's not good for an actor to have the big picture in mind - it bollocks you up. An actor's purview is the tiny little... We measure our performance in seconds.

I've always said that movies are a direct mirror of the director.

I've always said to people that auteurism is nice, but it's hypothetical, and gradually you learn how much or how little influence different directors had.

I've always had the utmost respect and awe of what the lens can do and what a director can do with just a camera move.

I've always traveled with the films because I want the audience to be my teacher so that I can learn for the next one.

I've always thought that as long as directors and casting directors don't see me as just Harry Potter, I'll be OK. People have shown a lot of faith in me, and I owe them a huge debt. They're letting me prove that I'm serious about this.

I've been a DJ, janitor, ditch digger, waitress, computer instructor, programmer, mechanic, web developer, clerk, manager, marketing director, tour guide and dorm manager, among other things.

I've been very, very lucky in my career, in my life - from day one. When aspiring directors say, 'what's your advice?' first I say, 'be born the son of a famous director. It's invaluable.'

I've been offered lots of movies. There's always some actor who's doing a project and would like to have me do it. But you look at the project and think, 'Gee, there are a lot of good directors who could do that.' I'd like to do something only I can do.

I've been very lucky to work with many amazing animators and directors who can interpret and extend the music I make. When it's done well, it can create extra meaning and new context for the song.

I've come to the possible conclusion that being a comedic writer/director is like running track. You do it for a certain amount of time and then you have to stop. Or you at least have to accept that you're not going to be at the top of your game. And that's OK.

I've been working with Five Four. The partnership started as one monthly collaboration, but now I'm the creative design director. There are still going to be collaborations for monthly drops, but we are launching e-commerce.

I've done so many movies with first-time directors, and honestly I just go with gut instinct. People that usually can tell me a good story, and talk to me about why the movie is the movie they want to make. I just go with my gut.

I've done auditions where the casting director is taking the paper out of my hand in the middle of reading.

I've been directed by other actors, and being an actor doesn't make you a good director.

I've been lucky to learn by playing all kinds of roles and watching all kinds of really good cinematographers, actors, and directors for many years before people were even aware of me in terms of audience.

I've been very lucky. Directors I've worked with have been very amenable to changes.

I've been very lucky to work with a lot of amazingly supportive directors.

I've certainly worked with really great directors who haven't acted.

I've constantly done my best to get the best material I can get with the best directors I can get to direct me.

I've done a few movies where I really liked the project, but I wasn't sure about the director, and I still did it and my instinct was right, in the beginning. Even though it was a good story, the guy still didn't really know what he was doing.