Best 1750 quotes in «directors quotes» category

No, United Artists was a very extraordinary organization, because once they had agreed on the director, they believed in letting him have his way. They trusted me, and that doesn't often happen.

Now at my age I understand how sad it must have been for some directors or actors at the time the talkies began. Because, really, a whole continent disappeared.

Now Tarantino is making DJANGO UNCHAINED. Everybody is telling me I am in the movie but I've not been asked by Tarantino officially. Not yet. There were many, many other Django films following mine, with other actors and directors, but there is only one Django.

Now that I'm taking some time off from school, I've been reading a lot to make sure I don't forget everything. It's mostly classics and nonfiction accounts from actors, directors and writers from the '40s and '50s

Obviously, if a director doesn't communicative a clear, relevant vision of the material, it will not succeed no matter how good the material.

Obviously I'd love to work with any of these great directors because every time I've worked with them I've gained a tremendous amount as an actor. Each director has his own way of pushing you towards improving yourself.

Obviously, I've been very lucky in general in my career, but I feel that I've been very lucky in terms of having directors come along at the right times who have taken me to the next level of where I needed to be.

Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.

Obviously there was Keith Haring and Robert Mapplethorpe, but Howard was on the brink of becoming a famous director - it didn't happen because he died.

Obviously with the onset of cable and satellite, there are more opportunities for programming and original programming, so it creates more opportunities for actors and producers and directors and everything.

Occasionally I do movies with other directors. I did 'The Diving Bell and the Butterfly' for Julian Schnabel. I did a movie with Jim Brooks ('How Do You Know'). I did a movie with Judd Apatow ('Funny People'). So I do get a chance to work with other people, which is always enjoyable, always pleasant. But still, Steven [Spielberg] makes the types of movies that I'm interested in as well.

Of course, at their best, movies are anti-literature and, as a medium, belong not to writers, not to actors, but to directors.

Of all the projects I've worked on, I've never worked with another director like Billy Friedkin. I think he's a genius.

Oh, what the hell did I know? I went to the set the first day in full makeup and the director told me to take it off. So I did the film without makeup. I had nothing to do with anything I did. I never understood why I was so famous.

On a simple level, you need directors who are good at action and can choreograph an action scene, but you need them to also have that sense of fun and that sense of movement and that ability to get the actors to really respond to the material in the way that you want them to. It's a very big thing.

On a movie set that works, you have your father figure, the director, you have your siblings, your other actors.

On a film set, we're all glorified troubleshooters, really, as directors. It's not if a problem arises. It's when.

On a lot of shows that I've done, we had the same directors, which was cool. But then, it's also great to do shows where the director changes every week because you get to see all these different personalities and see what you like dealing with better, as an actor. But, Jodie was amazing.

Once in a while I come across a director who hasgrown up thousands of miles from me, and the work touches me.Through these issues/50/images I am connected and something is illuminated.And I know then that I am not alone.

Once you crack the script, everything else follows.

Once you get the script, you then hope you can get the director that you want. Then you hope he can get the cast he wants. Again, you can go quickly or there can be a million stumbling blocks. There's just no way to know.

On Darjeeling, I was on set every day and I acted as the second unit director and a producer on that film. I was there throughout the whole process. On Moonrise Kingdom, I showed up for one day.

One has the responsibility to oneself, to the writer, director and the people who put up the money, to put out the best of what one has experienced and understood about the human condition as it relates to the role one has been hired to portray.

One casting director told me, 'You're the next Leonardo DiCaprio,' and when I heard that, I said, 'Let's talk about how I don't want anything to do with being like Leo.' He's an amazing actor, but the films we're pushing to do are different. I'm going my own way--in a big way.

One of the good things is the relationship between director and editor used to be more contentious. Studios used to leave directors alone more during the post production process and now they're clamoring to get in. So, the director and the editor end up teaming up sort of against the studio to fight what they're doing and you lose the creative tension that you used to have between an editor and a director.

One of the gratuities about being a director is that you can volunteer yourself out of difficult details.

One of my first jobs was in a soap opera, five days a week. And what I found is, although there are different directors coming in and different crews, you just lived in your character. It's the nature of the story, the ongoing story, and it can get deeper and deeper.

One of the things that's awesome about being an actor is that you get to do stories, live lives and have experiences that you never could have even conceived of, and that's because you're living in another writer's imagination and another director's imagination.

One of the most, in a weird way, encouraging things a director can say to an actor - I know this as an actor - is when you ask them a question, they say, I don't know - 'cause it means there's some space there for you to find out. And it means that there's going to be a process.

One of the wonderful things about being an actor is that every director is different.

One of the problems of a director on the set is that we become overwhelmed by all the factors and threads of production, that sometimes we can't focus on our main job, which is steering the performances to create the whole film.

One picture and one win cannot right a million wrongs. It's a step in the right direction.We have to get to a point where a movie like "Moonlight" winning [Oscar] or Barry Jenkins being nominated and winning, you know, for a screenplay or being nominated for best director - that it's just commonplace. They shouldn't be a novelty.

On Ernst Lubitsch: He could do more with a closed door than other directors could do with an open fly.

One would hope that you would have a CBO director who does not let ideology get in the way of making good estimates. [Congress] values having a credible institution that they can rely on to give them the best estimates possible.

On every movie I’ve done as a director, I look at the producers and having done it, I don’t envy them, at all.

One thing I know is that I don't want to be a director for hire, making genre films.

On stage, the audience watches from a fixed viewpoint and the director cannot retake something he doesn't like. It has to work straight through.

On the film where I didn't get along with the director, I just decided to not speak to him.

On stage I am the actor, director and the bouncer all at the same time. Fear does not exist in this dojo does it? No Sensi! Sorry when I get excited I have to toss in some Karate Kid quotes.

Originally a record producer more or less hired a bunch of professionals to participate in a recording session, the performers and the technicians, and a music director was put in charge. That directly related to a film producer's job.

On working with director Werner Herzog: I have to shoot without any breaks. I yell at Herzog and hit him. I have to fight for every sequence. I wish Herzog would catch the plague.

OSS 117 and maybe Un Balcon Sur La Mer directed by Nicole Garcia. It's a typical French movie with typical French themes with French actors, a French director.

Part of the advantage, and part of the result of trying to be a producer and director, are the practical things, you find. It's so advantageous to go to a place that you already have a feel for, a literal and spiritual familiarity.

Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.

Over the long haul I'd say that most directors I've worked with have been pretty sensitive to the quality of the interpreted scenes.

Our intelligence community needs better coordination of operations and exchange of information, and that's why we need an overall director of national intelligence and a national counterterrorism center.

Our top story, in 'Threat Matrix Reloaded' news ... Attorney General John Ashcroft and FBI Director Robert Muller held a press conference today to announce that Al Qaeda is planning attacks somewhere inside the United States at sometime in the future. So go about your normal lives, but with a vague sense of foreboding.

[Out To Sea] began a relationship I had with [director] Martha Coolidge for a few years that was wonderful, and she certainly cast me in the best roles I've ever had in film.

Over the years with movies, I've given directors notes.

People have forgotten how to tell a story.