Best 1750 quotes in «directors quotes» category

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

I am the best film director in the world.

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

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

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.

I began stealing a lot of ideas from other directors I had worked with.

I believe, as a producer/director, your duty is to create a beautiful horror film that really resonates.

I believe that every director's films reflect their lifestyle.

I believe young female directors in particular should always remind themselves of the truths of their own stories and not let outsiders influence the authenticity of their films.

I came across awful characters when I got some kind of status and came to Hollywood. Then you have directors trying to sleep with you, assuming that you will do things because of the way you dress.

I can make fried tofu, boiled tofu, stuffed tofu. Cutlets and other fancy stuff, that's for other directors.

I can make a better living as an actor than I can as a director. Though I certainly would prefer to be directing movies.

I can't act. I simply must be myself, do the things that seem natural to me. When I get with a director who wants me to act, I'll be lost.

I can't imagine any director directing a screenplay of mine, because the great directors all have very personal styles, and the ones that don't are not very interesting directors.

I can rely on me [being a director], unlike some actors. I never got anything less than what I needed from the lead actor.

I can't imagine being a woman in the world of acting, like where you age starts to weigh you down - you go from being attractive to where they [directors] decided you're out... I feel like with stand-up comedy, it doesn't matter if I've gotten fatter.

I certainly like the actor to have as much lee-way as possible. In the same way that director Bong was generous enough to let me create, you have to do that for actors, as well, and let them use the tools they have, and part of that is their own brains and their own words.

I can't stand directors who try to micro-manage everything. When it happens these days I just walk off set, saying if they don't like the way I'm doing it they can get someone else.

I couldn't be a cameraman or a designer or an actor - I have to be a director because I learned how to do that from my dad.

I choose movies, I never choose roles. I look at the script. I look at the director. I look at the other actors - and then the role.

I'd done table reads for my own screenplays, and I always thought they were so much fun. Why couldn't we do these for other classic screenplays and bring them to life? You can experience live theater, where you get to see plays produced by different directors and different casts, but there's really nothing like that for movie scripts.

I'd been working so hard making the film that I hadn't even emotionally processed the fact that I was a director.

I'd been on all the television programs as an actor, as a writer, as a director, as a producer.

I depend on good editors and a good director.

I depend on good editors and a good director. It's up to the way they shoot it, the lighting and all that. I like how small you can be on TV.

I definitely divide my life into decades. Almost every ten years, something in my work life has changed. My twenties were my journalistic phase, then there was my screenwriting phase, then I became a director, then I started doing some plays.

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

'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 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 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 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 have the problem of finding myself at 45 on the wrong course - I always wanted to be a film director.

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

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

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

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.