Best 1750 quotes in «directors quotes» category

After directing movies, I respect any director in this world, because making a movie as a director is tons and tons of work.

After my screen test, the director clapped his hands gleefully and yelled: “She can't talk! She can't act! She's sensational!”

After I saw a couple of pictures put out by my fellow comedy-directors, which seemed to have abandoned the fun in favor of the message, I wrote Sullivan's Travels to satisfy an urge to tell them that they were getting a little too deep-dish, to leave the preaching to the preachers.

After you do a showcase for agency managers and casting directors and you get this folder and some people had a folder that was thick and some people had a folder that was thin. And there's no fairness to it because it's not a fair business.

A good actor's director, first of all, is prepared, so there's not an exorbitant amount of wasted footage.

A good director's not sure when he gets on the set what he's going to do.

A good director has to be a captain - he has to work with a lot of people every day.

A good director is very well prepared, and knows exactly how he's going to cut the film, so the shooting is as efficient as possible.

A good [film] director is talented, imaginative, and does his homework.

A good script and a good brief from the director is enough to let me know what is expected of me.

[Alejandro González Iñárritu] went from Birdman to this - these are incredible ledges that he's stepping out on in making these films [The Revenant]. I think his only threat for best director is Room, to be honest.

[Alfred] Hitchcock was very interested in the image on the screen.As is any good cinema director. That is the language they speak. It is not literature, it is images on screen.

All directors should have to act and all actors should have to direct, so that they can understand all these key things that come into play with whether you can meet your day.

All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script and it's very linear.

All directors are storytellers, so the motivation was to tell the story I wanted to tell. That's what I love.

All film directors, whether famous or obscure, regard themselves as misunderstood or underrated. Because of that, they all lie. They're obliged to overstate their own importance.

All film directors, even the ones using 3-D today, want you to look at what they chose.

All I mean is, I'm not the kind of audience comedy directors want at a test screening because I seldom laugh, and if I do, it's not very loud. That doesn't mean I don't like the movie.

All I wanted to do was be a professional film director with a body of work, and you're going to make some good films, some bad and some indifferent. You don't set out to make a dog, you set out to make something good. But I like them all.

All of the directors I work with have their own unique gifts. My particular segment deals with online dating. It's a very interesting take on it, and a great observation of what goes on there.

All the great advances in cinema came about from technology. The 3-D camera was not invented by a movie director. The new industries are driven by the innovations in science and technology.

All the directors that I've had the opportunity to work with are fantastic.

All these directors who do different locations forget that one room can be shot from a million different angles and a million different ways. When I direct a movie, I'm going to use that.

All the films are hits before you turn the camera on. It's only in the execution that they fail. I've been less than happy with the way a couple of films were edited, but it's a director's prerogative and you gotta go with it.

A lot of directors prefer the solitude of the editing process, but I revel in the craziness of what a film set is.

All you can really do as director is sort of set a tone.

A lot of directors are overbearing and tend to make you doubt your instincts.

A lot of directors idealize their leading ladies or turn them into these objects of sexuality and beauty.

A lot of directors don't know what they want to do. Every director I've seen that was a good director that I've admired knew exactly what he wanted to do. They didn't sit there and think about it.

A lot of film directors are quite scared of actors. They are a bit of a nightmare sometimes, but I like them. It looks like cunning, but you try to get extra things from them all the time, by stealth, by making them feel confident, so they trust you and you can push a bit.

A lot of actors aren't particularly good directors. And they're not particularly good with other actors. That's kind of a fallacy.

A lot of directors don't want the pressure of a movie the size of Pearl Harbor. But I love it. I thrive on it.

A lot of new American directors have had mentors who have given them advice. And some of them have had the way paved for them by huge Hollywood directors who saw a younger version of themselves.

A lot of solo directors have a really strong creative producer with them. Jay and I have less of a need for that because we have each other.

A lot of student directors used to pick other students to be in their graduate films, so. I ended up doing a couple of them just for fun. Eventually, I got an agent through a friend and I did some commercials; then I got Knots Landing.

A lot of times passion projects or films are difficult to make because they don't have proven directors attached to them.

A lot of really good directors have a killer in them, as if they'd do anything to get that image. But that comes with the terrain and I don't mind it.

A lot of times, actors and directors don't want to repeat something. I don't think we're repeating something, but I think there's certainly a genre that we're in, and we're happy to embrace it.

A lot of times the character's experience is not in accordance with the tone of the movie and it's not really my job to account for the tone of the movie. That's the director's job.

A lot of young directors, they're not confident; they're not open to the emotional level of the scene.

Although filmmaking is collaborative and involves trust, ultimately it is the director who holds the whole picture together in their head.

A movie has its own fate, which often doesn’t depend on the performances of the director and actors.

A million pounds sounds like a lot of money now that I'm saying it. But in terms of moviemaking, it's not a lot of money. And yet you can see what can be done with that, with the talent of a great cinematographer and great director and actors.

A musical is only as good as its director. The same can also be said for the CIA.

An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.

An appreciable number of directors have shifted to lower-cost films, allowing them to be satisfied with a more modest return.

Among today's directors I'm of course impressed by Steven Spielberg and Scorsese, and Coppola, even if he seems to have ceased making films, and Steven Soderbergh - they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic is amazing. Another great couple of examples of the strength of American cinema is American Beauty and Magnolia.

An actor and a [theatre] director are both what I would call interpreters of work. We interpret a work, just as a musician will interpret a composer's work, we interpret the work of a playwright. We are servants of the theatre and I've always believed that. We must serve what has been written, that's what we're there for.

And also, Sergio Leone was considered in Italy a director of category B, not a big director.

And I just want to work with good directors and good people.