Best 1750 quotes in «directors quotes» category

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

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 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.

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.

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

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

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 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.

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

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.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

And I think being a good director is being able to be completely tyrannical and you?ve got to be an absolute dictator while at the same time, you have to listen and see everything because it can all change on a dime.

And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.

And Louis Freeh was a completely dysfunctional FBI Director, who was actually waging his own private war against the Clinton Administration.

And when I have lived elsewhere, every two weeks I have to fly back to LA. Even New York directors go there to audition. So I have to be there to a degree.

And then, with a European director and Norwegian actors speaking in Norwegian, it was going to be very interesting. So, whatever initial trepidation or fear I may have had was alleviated by those factors. I just said, "This is something to get on board with.

And people say it all the time: 'You're a celebrity.' No, I'm an actor. I'm a producer. I'm a director. I'm a toad. I'm roadkill. I'm anything but a celebrity.

And there was a very famous man called Michael Powell, who probably is the greatest director all round, except possibly a couple of men.

An Ingmar Bergman film would probably owe a sizeable bulk of its import and its direction and its quality to the directorial end and to the director because it's uniquely a Bergman film. But that again is not the general - no, that's much more the exception than the rule.

Any director, if you really ask them, will tell you that the toughest thing to do is like a dinner table or a dialogue scene because you need to keep that electricity maintained throughout the course of the film.

Another mistake a director can make is not to be prepared, so you get there on the day to shoot the scene, and they don't know how it should be blocked, and they're not clear on how they want to do a scene.

Any director will tell you, no matter how big his budget, that it's always the budget and the day count.

Any good movie is filled with secrets. If a director doesn't leave anything unsaid, it's a lousy picture. If a picture's unsaid, it's a lousy picture. If a picture is good, it's mysterious, with things unsaid.

As a 25 year director of a non-profit program I began to see the need to shift from only doing projects/programs to also doing policy work.

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

A poet needs a pen, a painter a brush, and a director an army.

Arnold and Jamie Lee must have worked over the years with directors that did 50 takes, because I'd get like three takes or so and say, Ok, that's it, we're done.

As a director and an actor, it is very difficult to say "this person was better than another person." I judge by chemistry of the actors but it is difficult being a judge. I will never bash any of the actors.

As a director, I do very few takes, because I feel like you hire the right actor and they'll do the job right. And the directors that I've worked with and had the best luck with - Jason and [ Steven] Soderbergh and the Coen brothers - all have been that kind of director.

As a director, I like trying to unlock the subtext of the scene and try to put the camera in a place that helps that.

As a director, you have to understand what is happening - if I don't understand it, you can't make changes.

As a filmmaker, it's about surviving and lasting. So many talented people that I've known in my life - directors and writers - just haven't made it and haven't had a chance.

As a first-time director in America, I feel I've been very fortunate.

As a director I always look at someone's eyes. How truthful are they? Will this person take me on this journey?

As a consumer of entertainment, as a director, I'm always interested in questions of identity and who someone is and how they're perceived and who they are versus who they thought they'd be.

As a director, I get to have a much broader creative expression than as an actress.

As a director, it's my job to provoke, and when people decided 'The Room' be called a phenomenon, or whatever you call it, it's fine with me.

As a director, or just a film fan who wants to enjoy the festival, Cannes is the worst place to be. But it must be a paradise for distributors and importers.

As a director, try to be humble and not to overdo it, not overcoverage and over-covering the scene.

As a director who does not like to write, I am always looking for scripts that I can contribute to through directing. I don't want to do the same thing that the writer is doing; I want to add an angle or highlight a theme.

As a director, you've got to have quite a few projects going because you never know which one will actually come together with the financing and get the green light.

As a film director I like to have the actors create their own close-ups. It's an older style of filmmaking.

As a director myself, you want to have colleagues and collaborators that respect your authority as the director. I'm very comfortable with that, and I've done a lot of work in second unit.