Best 1750 quotes in «directors quotes» category

If there's a criteria that really gets me interested in a work besides any type of personal interaction with the theme, it's if I feel like this is the right piece of work for that director at that moment in their career.

If the United States is to produce a nation of investors-as we must if we are to gain financial world-leadership-it is imperative that boards of directors be so constituted as to adequately represent the interests and inspire the complete confidence of investors of moderate substance.

If the script's good, everything you need is in there. I just try and feel it, and do it honestly.

If you are able to see on a monitor what it's actually going to look like and have that kind of feedback informing your decisions, then you're bringing back a lot of the decision-making process of the designer, the director of photography and the director away from the post-production process and bringing it back into the actual capturing of the event on film.

If you are at odds with the director, neither one of you is going to get anywhere. You really do have to be able to make both of you happy.

If you are the writer/director especially, no one cares more about the project than you do. You know it in and out. You created it. So always listen to input but don't be afraid to veto and fight decisions that you know instinctively are wrong.

If you didn't get it right and then you have to release a director's cut to undo what the studio made you release, I don't know, either it's some marketing thing for them to get more money or the director didn't do his job.

If you don't have a brilliant screenplay, then you either have amazing actors who give you the chance to improve whatever is on the page, or an interesting director who has enough faith in the project that they can carry it through and get it somewhere. One of those factors needs to happen. If not, it's sad.

If you don't take it personally, the partnership between producers and directors is very intimate.

If you do well as an actor, a good director will pick up on it, and keep it in the film.

If you have a script that's not great, if you have a great director, you can make a great movie, but if you have a great script with a director who's not good, never are you going to have a good movie.

If you knew my wife, you'd be like, "Yeah, you're very married." She runs the household. I refer to her as "the greatest director I've ever worked with.

If you look at the types of directors out there, I'm not as weird as most of them.

If you're a director, your entire livelihood and your entire creativity is based on your self-confidence. Sometimes that's dangerously close to arrogance.

If you're a casting director, you're going to be curious to see what Timothy Spall's son is like. But when you get in the door, you have to have something to offer.

If you're working with a director you trust, you can turn that part of you off that wants to direct other actors in a certain way.

If you're a movie actor, you're on your own - you cannot control the stage. The director controls it.

If you're sounding right, you're probably walking right, and vice versa. If you get the footwork right - if you get even one line right in a rehearsal, the director will say, do you know when you said that, it was exactly the character. You were - really landed on it.

If you're not grown up enough to understand that a trailer is not done by the director, then fine. Judge the movie from the trailer.

If you talk about big trends at Disney, these movies generally are generated by directors or directorial teams pitching ideas to John Lasseter.

If you see, as I do, in edited film, you're going to end up as a director.

If you work in casting, it's sort of not cool to want to act. A lot of people think that casting directors are frustrated actors, but it wasn't true with any of the casting people I knew.

If you talk to any director, they'll say music is fifty percent of the movie.

If you want to be a great director, be a great screenwriter.

I got nominated for my second film as best young director in the Aikido Film Festival in Japan.

I get involved with projects based on three parameters - the script, the actors involved and the director.

I get to meet different directors and different people.

I guess I probably see myself as a director. If I had to choose, I think that that's the aspect of the process that I'm most excited by.

I guess I'm not jaded because I still believe that there are good films out there, and there are great directors, and there are great writers. It just takes a little bit more perseverance and a little bit more time to find [them].

I had a hard time watching "Wolf Creek." It is a film with one clear purpose: To establish the commercial credentials of its director by showing his skill at depicting the brutal tracking, torture and mutilation of screaming young women. When the killer severs the spine of one of his victims and calls her "a head on a stick," I wanted to walk out of the theater and keep on walking.

I guess the story that best defines us [with Bud Yorkin] and our relationship goes back to the [Dean] Martin and [Jerry] Lewis show. The four stage managers on that show became major TV creators and directors - John Rich, Jack Smight, Arthur Penn and Bud Yorkin.

I had a caricature view of the guy in the beret with the big megaphone­­, but a movie director and writer was beyond my role of understanding.

I guess you could say I'm like a film director but my movies have only one frame.

I had a 90-minute one-man show. I performed it and my life just exploded. Everything - my life just changed. Every writer, director, producer, studio head, movie star - they all wanted it. It was the hottest property since 'Rocky.'

I had been doing summer stock every summer while I was in college. We did a showcase, like most good conservatories do - monologues and things that agents and casting directors come to see. From that I got an agent.

I had a very blessed journey with the upbringing I had. When you're working on sets as a stuntman, you have a firsthand account of the dynamics between actors and directors, because you're working hand in hand with them. You're not sitting outside the process watching. You become part of the process. You also see your tradecraft and see how movies are made.

I hadn't studied theatre and I hadn't studied actor training or anything, but I did have a sense of movement and composition, and what the final product would be like, but luckily I had friends who were good actors, who would help me get them, who would get themselves to the place where a good director should get them to build characters.

I had not been very kind to J. Edgar Hoover. And the field agent had written on - it was sent directly to Hoover - that - the director should see this - `And, besides, Hentoff is a lousy writer.' And I thought that went a bit far.

I had one well known director who kept saying, "Now Clint, this is what ...." And I'd say, "I know. I read the script. I'm the one who cast you as the director. Let me show you and you'll correct me if I'm wrong.

I had no natural gift to be anything - not an athlete, not an actor, not a writer, not a director, a painter of garden porches - not anything. So I've worked really hard, because nothing ever came easily to me.

I had never thought of myself as a director and found out that I was not. I am a writer who was able to direct the films that I write.

I had no idea whether I could play 'em or not, but I wanted to and I was very determined... but the band director said #That's not really normal.' Of course, all you have to tell me is that something's not normal and I'll go for it!!

I had pictured myself as a filmmaker but I had never pictured myself as a director if that makes any sense at all.

I had to be naked [in Vinyl], but I was almost more nervous about having to be drunk. The director wasn't going to yell, "Too big!," during the nude scene. For the drunk scene, you can be bad drunk or good drunk. We'll see. My wife was not happy, hearing about it.

I had to endure the worst time of all in terms of racial discrimination in Hollywood when i first started out. It was inconcievable to American directors and producers that a Mexican woman could have a lead role.

I hardly know so melancholy a reflection as that parents are necessarily the sole directors of the management of children, whether they have or have not judgment, penetration or taste to perform the task.

I had to go and sing with the musical director of the film, Simon Lee, who is just incredible, and it went great. I sang with him about five things, things we'd worked on. And then I went to sing for Andrew Lloyd Weber.

I have always been a great fan of Peter Chan and many other great directors who specialize in anything outside of action.

I have always credited the writer of the original material above the title: Mario Puzo's The Godfather, Bram Stoker's Dracula, or John Grisham's The Rainmaker. I felt that I didn't have the right to Francis Coppola's anything unless I had written the story and the screenplay.

I hate the word 'production'...it's a ceremony, it's a ritual...you should go out of the theatre stronger and more human than when you went in.