Best 1750 quotes in «directors quotes» category

We've done a lot of films now about the IRA, we can move on from all that. I loved '71 because I think it showed a very honest trail and what it was actually like. It wasn't one-sided. I really respect ['71 director] Yann [Demange] for what he did. But we have done a lot of those things.

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.

Whatever talent I had, I'm sure it helped that my parents were in the business and that I grew up around actors, comedians and directors.

What goes on between a father and a son, which is usually such a private matter, is that they are able to be honest with each other, and be honest with me, as a director. Its just remarkable.

What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.

What happens is things come to you - director, script - and if you respond to it, it's because it's tapping into some part of what's inside you, and different roles tap into different parts.

What happens often is the script is written and once the director comes on board you have lots of conversations and it mutates again.

What I do as a director is really create a safe environment that everyone can feel very comfortable in and experiment within so that they don't hold back anything. You never ever want someone to go, 'Oh I shouldn't have done that.' There isn't anything you shouldn't try. If it's terrible, who cares?

What I like about being an actress is that it keeps you feminine. Being a director and producer makes you manly and very masculine and I don't like that quality in a woman. But I'll do it when the film is very close to me.

What I look for in a script is something that challenges me, something that breaks new ground, something that allows me to flex my director muscle. You have got to think fast in this business, youve got to keep reinventing yourself to stay on top.

What I promise to my actors, and to my director, is to give them the salary and everything they need.

What I think happens, and that you have to acknowledge though, is that a director uses a book as a launching pad for his own work and that's always very flattering.

What people think improvisation is and non-improvisation is, it's nothing to do with what you like or dislike. It's all about how it happens with certain directors and certain scenes. That's the way it works. It's not something, in general, that you can decide.

What I try to do is make sure that the directors I'm working with are on the same page and want to do the same kind of films. You can really protect yourself as an actor if you work with really good people. It can hide a lot of flaws along the way.

What makes it frustrating is when a director or a studio head doesn't see me for the same part that they'll see, let's say, Drew Barrymore for. Drew's a great friend of mine. But it's like, "No, we want more of an American type of girl.

What you want, as an actor, is a great leader. I can't bear it when I work with a director who is wishy-washy and says, "What did you think?

What's interesting is that producers, directors and writers tend to typecast me in terms of whatever movie they've seen me in most recently.

What you want is a comfortable environment that you feel you can invent in. Because film is such a lumbering, technical, huge, great Neanderthal thing, it's hard to create that little space of peace, and calm, and creativity, and ease. That's what you want the director to create for you, so that when you walk on the set, you forget all of that, and the fact that it's costing gazillions of dollars a second.

What you realize is that a lot of actors want to be directed. They're there to do the best job they can for the director. They have a lot of questions, and your job is to have answers.

When a director can give you a word that allows you to feel less tense about yourself, to make you feel like you indeed are good enough before you even get to the work, you can't ask for anything more than that.

When a filmmaker does not make films it is as if he is jailed. Even when he is freed from the small jail, he finds himself wandering in a larger jail. The main question is: Why should it be a crime to make a movie? A finished film, well, it can get banned but not the director.

(When asked what a director does) I help.

Whenever I really want a part, I'm not sure what to do. How do I let the director know how obsessed I am and willing to do anything for the movie?

When Chris Nolan is your director you are like, "I trust that, I'm wrong.

Whenever I'm offered something, I always read the script and meet the director. I still appreciate just being considered.

When I do a still picture, I'm doing it all by myself with no help. I'm designing everything. I am my own art director. I'm doing everything. I'm directing, editing, whatever.

When I became a director, I wanted to convince a very reluctant Sidney into allowing me to go on the journey of his life. Sidney had gone ahead of every other African American actor.

When I began to direct, I began to understand and realise that everything that I'd learnt, both in music and dance and in the theatre, seemed to come together as a director, and I began to enjoy it. And slowly I let the acting go.

When I do any stand-up, you're the writer, director, and producer. You're alone.

When I do a film, usually I work from my director. That's my boss. The director is interpreting the writer's vision, and we all interpret it, and they create their own vision as well.

When I do go to L.A., it is usually for a reason - to meet with a director or something - but I'm always so happy to go back to London.

When I couldn't speak English, I loved silent films circa 1914-1929, Abel Gance being my favorite director.

When I got the script for Thelma & Louise, when I met with the director, Ridley Scott, I said, "I don't want to do a revenge film. I'm not interested in doing that moment in the script after they shoot the truck, where it says they jump up and down and they're real happy about it".

When I'm choosing projects to be a part of it's always a combination of so many different things. The primary thing is the director. But a very important element is, is it different enough from anything else I've ever done, or what I've last done.

When I make a movie, I don't break it down and analyze it. I could but it would get in the way of doing a job - on instinct based on all the research we did going in. you want to trust yourself and your director and your acting partners in the circumstances you're shooting. I don't like to have any kind of overview.

When I'm acting, I'm in the director's hands. I'm very happy to be. I like to be focused on what I'm doing.

When I look around and see how aged cartoonists continue to work on their manga and how movie directors create new movies all the time, I understand that they would never retire. And by the same token, I guess I will still be making games somehow. The only question is whether the younger people will be willing to work with me at that far point in the future.

When I'm on a picture, I have two bosses - the director and the producer. My co-star is not my boss.

When I started my first film, there were three women directors in France. Their films were OK, but I was different. It's like when you start to jump and you put the pole very high - you have to jump very high. I thought, I have to use cinema as a language.

When I read the script [of Good Kill], it read like a science fiction film. And Andrew [writer/director Andrew Niccol] is known for sci-fi. But when I spoke to him, he said this picture was 100% factual, which blew my mind. I realized then how little I knew about the drone program. And I felt that, if I knew so little about it, there must be others who should be educated about what's going on.

When I on set as a director I crazy. My temper is not that good.

When I read it and I realized that Michael Landon, Jr. was the director of it, I thought...this could work out well. This is not gonna be a hard stretch for me to get the character figured out at all. Outside of the billion dollars, I was living his life...chasing money down. It was a lot of fun.

When I think about directing a film, the thing that stops me short is wondering if I'm a natural at it the way I think you, and PTA, and Fincher are born directors. Maybe some people's talent is in understanding the ways that film communicates, without dialogue, without plot.

When I see a short schedule, my question to the director is, are you really comfortable with this, or are you doing it to be a good boy? At the end, you only win the medal if the film is good, you don't win a medal if the movie is on time.

When I started out modeling, there weren’t casting directors and there weren’t stylists, so you just dealt directly with the designer. We were all much closer back then...

When it came to the on-camera TV stuff, I'd be standing next to the director, my friend, and he'd be asked a question that I should have been answering.

When I was a crusade director in British Columbia, all of our meetings were at 9:03. Somebody said 'That's ridiculous. Why did you do that?' It's because you remember it. You've never been to another 9:03 meeting.

When I was in college, my brother, B.R. Chopra, who is everything to me, was a director in Bombay. He taught me filmmaking. What I am today is because of him.

When I was a producer, the fun of the show was waking up with a hit and enjoying the period after the show opens. The fun of a director stops the day it opens. No matter if it's a success or a failure, it's not a whole lot of fun anymore.

When I was a young stunt guy the director would say: "You're useless..." But I wanted to be the best, I wanted to be a super stunt guy. That's how I built myself, because of martial arts and everything.