Best 1750 quotes in «directors quotes» category

I've never let producers tell me what to do. Even when I was making television, I always did what I wanted to do, and if I couldn't, I didn't do it. It was a freedom that, these days, young directors starting out don't have.

I've never wanted to be a fireman, in my life. I've never really wanted to grow up and be anything other than a film director.

I've really enjoyed my work in television, but the problem for me is the turnover of directors every week.

I've watched other directors as an actor and I picked up little things here and there about cameras, [but] I wouldn't consider myself the guy you'd want to hire to do Star Trek.

I've worked with some very good directors and some very bad ones. I learned a great deal from both. From the bad, untalented people, you learn what not to do. And when you work with very highly talented people, you want to emulate them.

I've worked with some of the great cinematographers. So I'm always watching what they do and I'm watching how the director composes his shots, just because I find it interesting as an actor; you're trying to help them out as well.

I've worked with Steven Spielberg three times. I'm proud to say that I'm one of those actors that continues to get hired by the same directors.

I view filmmaking as a director's medium.

I've worked with many directors, good ones and bad ones. So if I have a chance to work the good ones, I better put myself in their hands, and trust them, because that's my big opportunity to be different, and to be better than usual.

I've wanted to work with [Kairo aka Pulse director] Kiyoshi Kurosawa, but he has not been making horror movies recently.

I've worked on shows where the lead actor doesn't know their lines, doesn't care, and it affects everybody - the crew, the director, the other actors. It's definitely a responsibility.

I've worked with acting coaches, I've been going out on auditions and meeting with casting directors. But I'm not known as an actress.

I've worked with some absolutely wonderful directors who bring out the best in me and I know I can trust, and then I've had the opposite experience, too. I've had both experiences, and obviously one is good and one is not good. When they're great, it's good. When they're not great, it's not so great.

I've turned down good directors before because I knew the part didn't speak to me and I've worked with less talented directors before because the part I had such passion for.

I've worked with Jack Nicholson and Robert De Niro and Tom Hanks. I've worked with some really good directors: Woody Allen, Paul Schrader... My God, I've really worked with a lot of people. But I'm intimidated by them, and I'm always thinking, "Oh, my God, he's not going to like me, and I'm going to get fired.

I've written a lot of scripts that someone else directed, and it's absolutely vital that, if I'm gonna act in it, then I have to take off the writer hat and let the director direct.

I wanted to be a film student again, as a man in my 60s. To go someplace alone and see what you can cook up, with non-existent budgets. I didn't want to be surrounded by comforts and colleagues, which you have when when you're a big time director. I wanted to write personal works.

I wanted to do - there was this film called 'Magic' that Anthony Hopkins did. And the director wanted me. The writer wanted me. Joe Levine said no, I don't want any comedians in this.

I wanted to just surround myself with people who I think are better than I am, whether they're actors or directors or producers, so that I could learn from them.

I wanted to trust in my partners and the directors and producers and do the best I can to deliver what I could deliver.

I wanted to work on a cable show and with a writer/director because that's a much more fulfilling and freeing experience, as an actor.

I want make more records with my sister. I want to go on the road. I want to tour around the world. I want to continue to make great films and work with incredible directors that I respect and look up to.

I want to be fulfilled creatively as an actress and get to be in roles that are meaningful and impactful. I hope the same thing for myself as a director, one day. I want to make things that have an impact on how we look at the world.

I want to do literally everything. I think I was gifted... I inherited one of the best comedy visionaries as a director.

I want to get into the theater. I really wanted to be a theater director, but I turned out to be a movie director.

I want to really stress this, I am a director, an actor, producer, action choreographer, and I'm also an investor.

I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.

I want to work with great directors. I want to work on good material with good actors. I've probably done 20 movies at this point and a lot of independents. It's been an incredible ride and I love it and I'm just going to keep going and doing what I'm doing.

I was 17, certainly by the time I was 19, I knew that show business was where I was going to end up, and I had my sights on being a director.

I was an assistant director for a year, and I realized, 'God, this is a lot of hard work. This is going to take time. So what's the shortcut? What's the better option?' Then thankfully, someone said, 'Why don't you become an actor?'

I was aware of the possible biases you could get as a commercial director, like being too concerned about the technical aspects of the form rather than anything of substance. If you keep working in commercials, you can get trapped in a very superficial way of thinking. I always used commercials as an exercise for filmmaking, like going to the gym.

I was in good shape from Divergent. Damien Chazelle, the director of Whiplash told me, 'Stop Working Out! Don't go outside!' He wanted me pale and doughy. This is the first movie where I shut myself off from the world. It was, by far, the hardest thing I've ever done.

I was going to say we saw Secretary [Hillary] Clinton reported that she believes that she would've won the election but for the interference of the FBI director James Comey.

I was focused on The Hunger Games movie with my director, with the studio, and with the cast and crew. We all just focused on making the best possible movie we could, and earning the right to do more.

I was definitely incredibly close to my dad, in a way that was all-encompassing. I am close to my mum, too, but there were areas that she and I did not share. So his loss to me was huge, personally and professionally. He believed in me, not just as a father, but as a director, and that always meant a lot.

I was six years old when I saw my first Godard movie, eight when I first experienced Bergman. I wanted to be a director when I was fourteen.

I was lucky that I was getting exposed to a lot of different kinds of films, and I was liking them all. So it seemed logical to me that you could - as in the style of the studio directors of the 30s and 40s - jump from one genre to the next, with the same satisfaction.

I was rejected by casting directors during the day. I attended class in the evening, then rode 90 miles on the train home.

I was lucky to have my wife as the art director, and it turned out to be quite something - a great success. I'm very proud of it.

I was not born a size 2. I'm not skinny, period. I'm not willing to sleep with the director or step on somebody else's neck to get the job.

I was offered and accepted a part in 'A Few Best Men,' and then the Australian actor's union argued that there were too many British actors. And the director decided to lose me.

I was really fortunate from the time I arrived in Hollywood to work with some of the greatest directors from the beginning. I worked with Robert Altman, John Boorman, and of course Steven Spielberg, Michael Cimino, Brian De Palma ... I couldn't pick one of them; they were all different, but they are all so talented.

I was very fortunate in having David Fincher, the director come to me. Now I've seen the finished product, I feel that every bit of the nine months we spent on the film was worth it.

I was thrown in the deep end at 18 when I got cast in a movie that I didn't audition for. The director just sort of found me and put me in a film, so the decision was really made for me.

I was thinking what an interesting concept it is to eliminate the writer from the artistic process. If we can just get rid of these actors and directors, maybe we got something here.

I was well aware of that when I heard they were remaking 'Total Recall.' My first reaction was: 'Ewww, really okay?' And the director said you should really look at it, the script is good. I had already done a remake. I had just finished 'Fright Night.' When I heard about that being remade, I had a whole ego thing... remake?. 'That is so uncool! I loved the original, I can't possibly do that.

I watch movies all the time, so it's hard to pick certain specific directors that have inspired me in the aggregate.

I watched a couple of really bad directors work, and I saw how they completely botched it up and missed the visual opportunities of the scene when we had put things in front of them as opportunities. Set pieces, props and so on.

I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.

I went to meet Joe Johnston, the director, and he's charming. I've been very lucky. Most of the directors I've worked with are charming. But Joe's a particularly charming man, and he showed me lots of designs and, rather memorably, welcomed me to the Marvel Universe.