Best 1750 quotes in «directors quotes» category

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

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

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

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 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 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.

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 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.

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.

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.

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.

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.

[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.

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.

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

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.

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.

People come up to me and say "Steve, what is film editing?" And I say "How should I know? You're the director.

People have forgotten how to tell a story.

Plan B is really a little garage band of three people, and our mandate has been to help get difficult material, that might not otherwise get made, to the screen and to work with directors we respect.

Personally, I can't stand violence. In any standard American mainstream movie, there's 20 times more violence than in any one of my films, so I don't know why those directors aren't asked why they're such specialists for violence.

Performers are so vulnerable. They're frightened of humiliation, sure their work will be crap. I try to make an environment where it's warm, where it's OK to fail - a kind of home, I suppose.

Photographers should make three or four prints from one negative and then crop them differently. When I was art director at Harper's Bazaar and at several agencies as a consultant, young photographers would bring me their portfolios and all the prints would be in the same standard proportions, either for the Leica or the Rolleiflex. Many times, by limiting themselves in this way, they missed the true potentialities of their photographs.

Picking projects, it's always director first and then script. Those two things are pretty much head-to-head.

Playwrights are the most gregarious writers - to get our work done, we need actors, directors, set designers.

Producers generally don't like me; directors do, generally. Convincing the producers is hard. They can't see the commercial value behind such a face, nor would they get a commercial value, necessarily - and I don't mean that in a good way or a bad way.

Producers don't like the director who ignores their opinion - but I always try not to be the nicest person when making a movie. It's easy to do that. Just say 'Yes sir', "Alright', 'Okay' - but they're not seeing the movie because if they can, they should be directing the movie.

Realizing that my surroundings were going to be built around me, the way that I performed, we helped the directors through the performance, to create the world that we were going to be seen in. I was very fascinated with that.

Prudence is not only the first in rank of the virtues political and moral, but she is the director and regulator, the standard of them all.

Really, it's the director's job to disappear and allow the movie to just feel.

Really good director sometimes will kind of see what the actors are doing and then get in there. Because there's the realization that you have to find it a little bit and then kind of clump around and sniff it out.

Really top-notch directors, I've often worked with them just to see how they work.

Rewriting the negative beliefs you have learned is the essence of becoming the director of your life.

Richard Curtis, the writer and director of Love Actually, is brilliant at many things, but his genius, I submit, is for thrusting characters into situations in which they feel driven to humiliate themselves. Which is why we love them, especially when it's all in the name of love. He is the Bard of Embarrassment.

Remember the great film with Bette Davis, All About Eve? There's a scene after the scheming Eve steals Margo's role through trickery & then gets this magnificent review. Margo of course is effing & blinding all over the place. And crying. Her director rushes into her house, puts his arms around her & says, "I ran all the way". That's what I want.

Saying directors don't write because they don't type is very wrong, it's like saying Dylan doesn't write music because he doesn't write notation.

Roles came to me. I was very, very lucky in that respect. Great directors, great writers, great producers - they saw something in me that they wanted for their picture or their play or whatever it was, whether it was Edward Albee or whether it was - or Peter Hall, directors. They would come to me, thank God. I was lucky. Lucky, lucky, lucky.

[Roger] Vadim became famous worldwide as a director, and I as an actress, but the other side of the coin was terrible. My life was totally turned upside down. I was followed, spied upon, adored, insulted. My private life became public.

Screenwriting is the most prized of all the cinematic arts. Actually, it isn't, but it should be.