Best 1750 quotes in «directors quotes» category

He was such a fabulous drama coach. What better person to have than Alfred Hitchcock? His work as a director was impeccable. I learned so much.

Hillary Clinton is guilty, of all the things that Director [James] Comey stated at his press conference and Congressional hearings, and far more. He stated many things, but it's far more and he knows that.

Hillary Clinton said there was no marked classified information on her server. The FBI Director said that's untrue.She said that she did not email any classified information. The FBI Director says that's untrue.

[Hillary Clinton'] transition director being Ken Salazar, I think, indicates that she will continue to be a friend to fracking. It's not possible to solve the climate crisis while we continue to expand fracking.

History has a way of coming back to you. In the case of Janis Joplin appearing at the festival in 1968, her performance affected the life of a Bostonian who is now a member of the Newport Festivals Foundation Board of Directors.  Ward Mooney was so affected and emotionally involved in Janis’ performance at Newport, that when he heard the festival was going nonprofit, he knew wanted to become a part.  Janis was beautiful, gracious and respectful, and the power of her Newport performance continues to live on.

Hmm, can I be obvious and say there is probably a double standard for male vs. female directors? Sadly, I think that's actually the case. And it probably stems from the fact that there are proportionately so many fewer women directors than men ones that each project is perhaps more closely scrutinized for its content.

Hollywood needs more women directors, and Mama Ava needs a carafe and a half of that sweet vino divino.

Honestly, I look at the project and I look at the people attached and I look at the director. If it's a role that I feel will help me, as an actor, then I'll definitely take it.

Honestly, I love television. I love the idea of going to work every day and getting to know your crew and having a rapport with your directors and having a family of cast.

Hours is an understatement. I honestly don't know how the director and editor decide each week what actually makes it on the air. There's of course director and cast commentary on each episode on the DVD. We had a blast recording that.

However good a communicator a director is, unless they've been actors, it's just not the same as the shorthand you get with someone who's been an actor.

However happy the director is, I have to be okay with it. I'm pretty strict with myself, about throwing things out or trying to be true to whatever the situation dictates.

How many movies do you see when you can say this director really knew what film he wanted to make? I can count them on the fingers of one hand.

Human nature is not amenable to prediction based on the trends or tendencies prevailing at the time. It is amenable to startling creativity of the kind practiced by great artists, directors, writers, musicians, actors, who know how to touch a chord in humans everywhere.

I actually love Scorsese comedies. He's an underrated comedy director. I think his comedies are some of the best comedies ever made.

I also really loved the friendship between these two women, and watching these two very different women working in this gritty male environment. That was really the reason that I wanted to be a part of it. And, I went in and met with the producer and the director that did the pilot, Mike Robin, and read with them. And then, I did a read with Angie Harmon, who was already cast. From the moment we read together, it just clicked. It was as easy as that.

I almost became a music major, but somehow I was so enthralled with the camera and becoming a director that I stuck with film school and theatrics.

I adapt to directors, I don't like making directors adapt to me. If I'm with Clint Eastwood then I'll do two takes, if I'm with Fincher I'll do 50 - though the thought of that sounds horrible.

I also think it's still easy for us - as women, as writers and as directors and producers - to let it fall into the same patterns. Like, "and then the woman brings in the food, because the woman's the one who makes food." It's easy for that to happen, because that's what we've always known.

I always claim that the writer has done 90 percent of the director's work.

I always felt, and still feel, one of my best strengths as a director is having been an actor for a long time. Nobody knows actors and their insecurities and strengths and everything more than somebody who's done it before.

I always choose my projects for the script or what the director want to tell with that story. And if I like the story.

I always felt that the telefilm directors made wonderful films, which are even better than the big screen movies, but never got enough opportunities to showcase their talents on the big screens.

I always have directors who are somewhat frustrated because they'll reference a beautifully obscure film from the '50s or '60s or '70s, and I've not seen it.

I always found something strangely paternal about the director-actor relationship. Actors want so much approval.

I always thought when I was doing more melodramatic stuff like Everwood that the directors were constantly reeling me in and stopping me from being funny. I've always tried to find a funny angle on things, and 99 percent of the time, it just doesn't work.

I always say that I'm not the director, I'm part of the team.

I always think it's a sign of a truly gifted director when they can move seamlessly between genres.

I always wanted to direct. I always saw myself as a director.

I always scout locations first. The apartments, the railway tracks, the café, the canal - I figure out the geography of the film.

I always thought it would be very funny if I was a blind film director.

I always wanted to create a site that was sports and pop culture. 30 for 30 had a big impact because I loved how that was about finding, empowering and working with these incredible directors, and I thought the same thing could work for writers.

I always wanted to direct. Directing is a lot more of a commitment though, a lot more time. I like directors who do very few takes, they know what they want.

I am both proud and honored to be on the Board of Directors for the Texas Ballet Theater.

I am a very impatient director.

I am impatient with directors who don't know what they want, and the way you don't know what they want is because they want to do one more. "Let's do one more." So, "What for?" I guarantee you there's not going to be a change.

I am not interested in simply working as a director. If I am not making movies that I want to make, that I feel passionate about, or that I feel are hopefully at the level of cinematic quality that I feel they should be then I am not really that interested.

I am lucky, that is all. Lucky because there are a lot of people - producers, directors, people who buy tickets - who put confidence in me.

I am open to keep on discovering new interesting projects, and little by little I have been coming across very beautiful projects with very affectionate directors.

I am not a master-class director. I am not a teacher. I am a coach. I dont have a methodology. Each actor is different. And on the film set, you have to be next to them all.

I am often asked at what point in my love affair with films I began to want to be a director or a critic. Truthfully, I don't know. All I know is that I wanted to get closer and closer to films.

I am sure I am one of 2000 film directors in the world that Tarantino admires.

I am still taking care of the creation of the collection alongside my staff, and my daughter Nathalie Rykiel, is the artistic director of Sonia Rykiel, who takes care of a lot of things. We are very alike and also very close.

I am the best film director in the world.

I am working as public relations director for the Tour de France and maintaining my farm.

I am very clear that when I work with a director what he or she says is the last word.

I aspire to be an instrument of the director. I'm happiest like that. The stronger the director, the more I'm willing to give them.

I auditioned for Ted Bundy and the director Matthew Bright and we really hit it off. He cast me as Bundy's girlfriend.

I became, and remain, my characters' close and intent watcher: their director, never. Their creator I cannot feel that I was, or am.

I became a director just for the love of movies, because of the power of cinema.