Best 1750 quotes in «directors quotes» category

In 'Beowulf,' director Robert Zemeckis uses a technique called 'motion capture' to conjure fantastical things, angles into action and sweeping vistas to stun your eyes and take your breath away. But what he hasn't mastered and what the technique can't do is this: emotion capture.

In comics, the writer is also the director in a certain way. So if this were a film, you wouldn't tell the cinematographer to make a good fight scene while you go and get a cup of coffee.

In creating music you are the writer, the director, the producer, you create it from scratch. Obviously in playing a role in a film, you take guidance and put your trust into the director. You come into it and you really trust people.

In Dreams...well, I was slightly overcompensating with that. I was a bit like a director for hire, so maybe I was putting too much imagery that was familiar to me into it.

I need to gain a lot more experience. I think so much of being a director, other than the technical aspect and the artistry of it, is the confidence that you are, I think in many ways, you're the captain of the ship.

In Europe, Henk Tennekes was dismissed as research director of the Royal Dutch Meteorological Society after questioning the scientific underpinnings of global warming.

I never feel like a smug or a smart-alec film director, and there are plenty of those around.

I never storyboard. I hate it. I don't understand why so many directors want to make comic strips of their films.

I never rewatch the great films of my favorite directors because I'm afraid they won't hold up.

I never thought I was doing the same thing as directors like John Carpenter, George Romero, and sometimes even Hitchcock, even though I've been sometimes compared to those other guys. We're after different game.

I never turned down anything and never argued with any producer or director.

I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.

I never worry about what they think about me. Because I feel so far away from what my Italian colleagues have done that I almost automatically become an isolated director.

In film school, I knew I wanted to be a director, but I found out pretty damn quickly that nobody was just going to hand me a script to direct.

In film producing, there is an inherent tension between the director, the money and the producer, and that's what keeps it flowing and honest and accountable.

In feature films the director is God; in documentary films God is the director.

In general, the few directors that I've worked with that I really respect have taught me a lot about who I am and they've opened me up as an actor. I want to take some of that to apply it to when I'm directing actors.

Ingmar Bergman is a long way from me, but I admire him. He, too, concentrates a great deal on individuals; and although the individual is what interests him most, we are very far apart. His individuals are very different from mine; his problems are different from mine - but he's a great director. So is Fellini, for that matter.

In France, I am so free. I have more freedom than most American directors could dare to even imagine.

In France, I have lots of opportunities. Maybe now I'll be offered films in America. It's the encounter, with the director and the story that counts.

In Hong Kong, the directors are the idea men.

In Hollywood there's no real material. They would send me stuff, but I hadn't even seen the director. If I don't see the director's eyes, I'm not going. I'm not even going to pack my bags.

In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring out that choreography.

In Kurdistan, theres a lot of hardship - a lot of wars, a lot of bitter and difficult lifestyles. And witnessing all those made me a director.

In my career, I have played a gangster, an ex cop, a journalist and a film director. Yet, the label of a serial kisser refuses to leave me.

In my case, when you dive into a role, to do well and for you to do well in it, you have to put an enormous amount of faith in the director. But you also have to decide you're so interested in the material, this director, his work, and his process, that you don't care about the outcome.

In order to make a movie it isn't enough to have a script, it isn't enough to have a director, it isn't enough to have a male actor and a female actor, it isn't enough to have financing. You have to have them all at the same instant.

In my own experience of male and female directors, people have a much, much harder time taking a direct command from a woman. It's somehow very difficult for people.

In my own life, I have noticed when I have been meeting directors, that the same sentence with the same inflection can be said by a man, like: "Get me this." But if the same thing is said by a woman, it's seen as harsh and unacceptable. That always fascinates me.

Insider trading tells everybody at precisely the wrong time that everything is rigged, and only people who have a billion dollars and have access to and are best friends with people who are on boards of directors of major companies - they're the only ones who can make a true buck.

In practically every film you experience, you can see the director following the text. Illustrating the words first, making the pictures after, and, alas, so often not making pictures at all, but holding up the camera to do its mimetic worst.

In people's minds, I'm a comic, so it took a lot of time before I was recognized as a director. I had to be patient until the public accepted me. As a result, my early films didn't get a lot of attention. As a serious film actor, things didn't take off, either. Only my comic talents were recognized.

In theatre, there's the director, the writer, and below them the actor. In film, it's the actors who are most important. That goes against the grain for me.

In the '90s, indie movies could get financing, because financers gave money straight to directors... Now it's a different system. Indie movies got co-opted by the studio system.

In theater, you're in charge of your performance, and at the end of the day you're the one who gets credit because you're in front of the audience doing it, and in film and TV it's the director who gets to decide when to cut to you on a line, which take he uses.

In the best of all possible worlds, directors would obsess about the quality of their storytelling, and not the details of their technical methods.

In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.

In the beginning you can think, "The world is like a stage. I am only an actor. God is the director. All are His instruments, all are just ac­tors. He is directing everything." But do not always remain at that level. Move on. Think, "I am the un­changing Atma, not this changing personality and body.

In the documentary the basic material has been created by God, whereas in the fiction film the director is a God; he must create life.

In the end, it's acting, it's not real. But every director will tell you that you have to create conditions that create tension, because tension is what makes drama feel real.

In time truth and science and nature will adapt themselves to art. Things will happen logically, and the villain be discomfited instead of being elected to the board of directors. But in the meantime fiction must not only be divorced from fact, but must pay alimony and be awarded custody of the press despatches.

In the re-creation of combat situations, and this is coming from a director who's never been in one, being mindful of what these veterans have actually gone through, you find that the biggest concern is that you don't look at war as a geopolitical endeavor.

In truth, Edward Teller ran the Livermore Lab, but for public purposes he liked it better to be known as only an associate director

I particularly remember the time I gave (the research director) my paper on the banking industry. I felt very proud of my work. However, he read through it and said, 'This is useless. What makes the stock go up and down?' That comment acted as a spur. Thereafter, I focused my analysis on seeking to identify the factors that were strongly correlated to a stock's price movement as opposed to looking at all the fundamentals. Frankly, even today, many analysts still don't know what makes their particular stocks go up and down.

Invention, my dear friends, is 93% perspiration, 6% electricity, 4% evaporation, and 2% butterscotch ripple

I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens.

I place a higher value on work ethic than talent, because, in certain areas, you just need to cast, you need to cast actors with talent, you need to hire directors with talent, but I've worked with very talented people who have a poor work ethic, and the outcome is less desirable than people who are less talented and have an incredible work ethic.

I personally find that each instalment has a different director, cast and crew, and I've also been in a different season in my life for each of them, so I feel like each movie is a unique experience that centres around my undying passion for music and dance.

I randomly went to a casting session in my hometown in North Carolina, and the casting director introduced me to my manager. I really lucked into it!

I prefer to have playback, but sometimes, you can't have that under most circumstances. First, it is expensive because you need a playback operator and secondly, it threatens a lot of directors. I only watch my performance. I see what is necessary for me so that I can see it right at the moment and I can fix it. That appeals to me a great deal.