Best 1750 quotes in «directors quotes» category

'Ides of March' I did for scale - scale as a director, scale as an actor, scale as a writer.

I detest producing. I mean, I feel like I do it to enable myself to do all the other stuff that I do love, but I find it's in conflict with the other roles because the producer needs to be the one who says "No" and the director and the writer need to let their mind be free.

I did my first movie, "The Mambo Kings," in America without speaking the language. I learned the lines phonetically. I had an interpreter actually just to understand directions from my director.

I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.

I did direct two short movies. I learned many things, and one of the things I learned was that I am not a director. It has to be visceral, and it's not for me. I feel much more comfortable acting.

I didn't even know what a film director was. To me, Charlie Chaplin was a goofy clown, and John Ford - what? Never heard of him.

I didn't go into the theater to be a producer, I went into the theater to be a director.

I didn't have the problem of finding myself at 45 on the wrong course - I always wanted to be a film director.

I didn't just see myself as a film director here [in Life And Nothing More], but also as an observer of people who had been condemned to death.

I didn't know [director] Aaron Woodley at all, but I knew I wanted to be a part of [ The Entitled ].

I didn't really know what I wanted to do, and then I got this call from a casting director in Los Angeles. She remembered me from something years before, and she called my mom wanting me to audition for this thing.

I didn't want a guru or a kung fu master or a spiritual director. I didn't want to become a sorcerer or learn the zen of archery or meditate or align my chakras or uncover mast incarnations...I was after something else entirely, but it wasn't in the Yellow Pages or anywhere else that I could discover.

I directed before I was even in television; I directed in the theatre for seven years, so that was my trade anyway. But in the UK, I've given up any hope of being considered a director.

I discovered early in my movie work that a movies never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.

I'd like to decide who comes here. I'd like to be the admissions director of New York.

I'd like to think every director I've worked with has fallen in love with me, I know Dorothy Arzner did.

I'd love to direct a film, but I don't think I have the temperament for it. I'm very hyper, and I want things to be done ASAP. If I turn director, I might end up killing my actors.

Id love to see more women working as directors and producers.

I'd love to see the rushes but it's just not allowed because directors and also a lot of actors feel that if they see their work, and the director likes what they're doing, the actor might try to correct their mistakes.

I'd never really done comedy before Community, so getting to work day in and day out with all these great people, directors, writers, and actors, I feel like I've learned a lot.

I'd love to be a huge television director. I definitely want to do that. I could imagine me going more and more into that, as I age.

I'd love to see more women working as directors and producers. Today it's almost impossible to do it unless you are an actress or writer with power. I wouldn't hesitate right this minute to hire a talented woman if the subject matter were right.

I'd never worked with an actor-director before [Warren Beatty].

I do a film because I like the story and I want to give life to a character - I don't necessarily have to agree with the director.

I'd love to direct, and I think I'd be a great director, but... I've been approved by the studio to direct, which I think is a cool jump of faith for them. Or proof that they're really stupid. But I don't think so.

I do believe female directors, as well as our female writer, can bring out male vulnerability that some men can't because they can't face it.

I do believe in us as actors and directors and writers and producers and also as movie-goers. We have much more power than we believe we have. Without our ticket, studios can't make traditional decisions.

I do have more directorial control over animation, because it's like trial and error: If something doesn't work, you can always go back and change certain things. Whereas in live action, every day is a challenge, and you have to make decisions on an hourly basis. So in live action I have more freedom as a director, but in animation, I have more control over the final product.

I do feel, like everyone, there's not enough female directors out there, there's not enough female producers, and would like to see more people get more opportunity, more opportunity for roles for women.

I do listen to a lot of music. Actually, I very often ask directors if they can offer up a play list. They very often have one anyway that they're listening to.

I don't always see my movies right away. And there are some I haven't seen at all. Sometimes that bothers the directors, so I'm obliged to see them.

I do like being surprised by directors and producers and being offered parts I would never have considered, including parts that aren't necessarily obvious but which would test me.

I do not talk to the FBI directors about pending investigations [on Hillary Clinton].

I don't believe in director's cuts and I also don't really believe in deleted scenes because the movie that is in theaters, that's what the director made.

I don't blame any director for wanting to do something more commercial. That's all part of the business. I certainly have done it, as an actor.

I don't come in with any preconceived ideas, and although I will have done some preparation, I can go which way the director wants.

I don't come to work as an actor. There are many directors who can direct without ever having acted and do a great job and connect with their actors and lead them to excellent performances without themselves having had an acting background.

I don't have specific people. There are so many people that I admire and there's directors that I'm desperate to work with that haven't even made a movie yet, probably.

I don't have a favorite director just like I don't have a favorite color or I don't have a favorite food. I like everything.

I don't have an interest in being a director-for-hire on sitcoms - but if it's a really cool show that I thought I could bring something to, I would love to do that.

I don't know, being able to work with Meth was pretty damn cool, but even that day, John, the director, gave me one of the best notes I've ever had. I walked into the scene just completely excited. I just couldn't believe I was going to work with Meth.

I don't need to work right away. I'd rather wait for something really good; to be excited about a role, or a director, or a project.

I don't know what it is, exactly, but there's a negative drag on film sets after the second week or so, a mutinous vibe because the infinite capacities of the directors and everybody else become quite finite and everybody's under the gun and it becomes work.

I don't like actors who try to talk directors into making their part bigger and that's really lame.

I don't like people who use the press to advance themselves in a way that they haven't earned as an actor, performer or director.

I don't need a director who's 'good with actors.'...A master manipulator is heaven.

I don't think about the gender thing very much. But when I speak at schools, I've had female students say to me afterwards, "I never envisioned myself being a director, since I've never seen women do it." But after seeing me, they can picture themselves directing, so maybe we'll see more female directors.

I don't think it's a director's job to peek behind the curtain too much.

I don't think Hollywood makes many good films anymore. How many directors can you really trust to have an artistic vision, not a corporate vision or a watered-down communal one?

I don't think it's a prize when actors and directors or writers and actors work together more than once. You have a trust and a shorthand and a lot of times you even reach the point, where in the process, you don't even have to talk.