Best 1750 quotes in «directors quotes» category

With the most interesting directors, the cast comes together to make something magical that nobody counted on.

Women are making strides in many areas and women have mentored and supported me along the way. I think that women are underrepresented behind the camera as directors.

Women think in Sirk's films. Something which has never struck me with other directors. None of them. Usually women are always reacting, doing what women are supposed to do, but in Sirk they think. It's something that has to be seen.

Wong Kar-wai and Ang Lee are two Asian directors I'm really fond of.

Woody's [Allen] very relaxed with the cast and likes them to do their thing and is not an over-director type. Somehow it works.

Working with a great director is wonderful for an actor because it means that you're not forced to take the advice of an idiot.

Working with Joe [Kosinski], definitely. I loved working with Joe. For a guy who doesn't really come from the fiction world - he comes from advertising and architecture - he's extremely easy-going and very calm. He's extremely detailed, but a very generous and fun director to work with. He really encouraged me to find the fun in the part and to have fun with it.

Working in film, if you work with great directors, you learn that after every take you must let go. Sitting with my wife at the Academy Awards, we both let the moment just go.

Working with green screen, you really rely on the director in a way that you don't on different types of films.

Work very very hard. This business is no joke. Make sure you know what you want or you might be taking someone else's view instead of your own.

Writer-director John Roecker's debut, Live Freaky! Die Freaky! will have you convulsing on the floor ... with nausea, laughter, or both.

Yeah, well I can't see a situation where I wouldn't at least re-write as a director something I was going to direct. At the moment, I wouldn't direct anything that I hadn't written. I can now say, as everybody else says, that it all depends on the script.

Yeah, the actors really come in as lumps of clay. We're ready to work with the directors and find our way. These guys really come in having done their work.

Yes, I was hired by Universal because they needed a comedy director. They had seen Scandal and liked it. I saw an opportunity even in those comedies to begin my project of American films.

You always have to speak good about the projects you do and you have to see the beauty in them. Sometimes you see them and you're happy with things, or maybe the process was nice and you enjoyed it, and you were happy with that. But when everything gathers - you liked the scripts from the very beginning, the directors, your friends - but then you see the result and you like it - it's beautiful.

You always like to be the collaborator. I don't want to take over the movie, because if I want to do that, I should really become a director because then you have the control of everything, basically. I'm very happy to just be the visual part of it, doing the visual part of the movie.

You are the director of your own life story. Don't cast idiots or people will walk out during your 2nd act.

You are the executive director and screenwriter of your life.

You can have a great script, or a great director and a bad script, and get a great movie. Nothing really guarantees anything.

You can make five massive hits in a row and still not get cast by the directors who you want to work with doing little movies.

You can make five massive hits in a row and still not get cast by the directors you want to work with, doing little movies. There are no guarantees. I'm trying to sign up and do movies that I'll be proud of, if it's my last one. That's how I think about it.

You can only have one voice on set, and that has to be the director.

You can't fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.

You can't fake comedy - it's not like a movie, where a director can just cast a pretty face.

You come up with a story line, you hire the writer, the director, the stars, the set designer.

You can't have a director say, "Just be you"; you have to have an aim. It's like when you throw darts, you have to know where the bullseye is. You can't just say, "No no no no no, drop the darts. Just stand. We're going to film you." You have to get there indirectly. You have to have me doing something, and then you can get "me.

You can't rely on the approval of others. I used to always look for praise from my directors to reassure myself that I was doing a good job. I don't do that anymore.

You can't see any movie nowadays really without it having some sort of CGI treatment, albeit whether it's a creature or an environment, something like that. To make a point, sort of poetically in that case, but clearly it was a drama and how do you approach it? Well, I think what you're supposed to do is what the text dictates. What you bring to it and everything you need to know should be there, and pay attention to your director.

You don't even need the director's judgement. It's too much.

You don't really audition for Hamlet; Hamlet is one of those roles that a director or producer decides you should do it.

You don't have your film finished when you have your director's cut finished. It's just a bunch of green screen.

You don’t want to ask after the health of anyone, if you’re a funeral director. They think maybe you’re scouting for business.

You don't pick black actors or black directors because they are black. You pick them because they are good. If you lend somebody 50 million dollars you want you're money back. You don't care if they are oppressed. You just want you're money back.

You dream as an actor's director of letting moments breathe through two-shots.

You either are a good director or you're not.

You evolve in the ways in which you are precious. When you are the director, you are also continuing to write on the floor as you go along.

You get spoiled as a novelist because you get to be the director and the editor, and you play all the parts, but as a screenwriter, you are a bit down the ladder.

You have to be strong to be a carpenter, maybe, but the director of a film doesn't need to have muscles.

You have always had individual directors who begin in the advertising or commercial world, but they are probably exceptions rather than the traditional pattern.

You have to have the essential pleasure of making a movie. It's such a huge factor and adventure for a director because you really are the leader and the captain.

You have to steal a lot. You have to have a criminal mentality to be a film director.

You have to move really fast, as a director in television. If you're able to keep things moving on set, everybody has more fun, and when everybody has more fun, the end result is funnier.

You hear again and again that audiences want to see movies that are different and critics say we [directors] make the same thing again and again in Hollywood, then you go and make something different and you get kicked in the gut for it.

You hear stories about directors using manipulation to get actors to do certain things, but I think when you're working with professional actors, it's all about trust. They can do anything you want, it's just a matter of them understanding what you're looking for, and the reason why.

You have to take away the idea that something you do is right or wrong. I don't think there's a right or a wrong; I think there's an "it works" or "it doesn't work" for the whole. And that's why you need a director you trust, so you can just keep throwing out suggestions.

You have to really be able to trust the director. It's about the filmmaker and whether or not I'm going to be able to have a relationship with them and want to follow them down that road, wherever it may lead.

You have to remind casting directors out here that you don't just do one thing. There's a lot of people who do just one thing.

You hope and pray that you'll get involved with a director that you understand and who has the same sensibility as you do and knows how to push you and bring out the best in you.

You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie!

You know, as director of the CIA, I got an awful lot of intelligence about all the horrible things that could go on across the world.