Best 1750 quotes in «directors quotes» category

I think people take their behavioural tips from everyone else. So, if the director is calm and the lead actors are calm, no one wants to be the sore thumb. And I've remained friendly with everyone.

I think producers are more interested in backing concepts than directors and writers. I don't think that's the right way of making a decision about whether you're going to back a film or not.

I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.

I think that the process of trying to become somebody else, and obviously the director/actor relationship in trying to do that, is such a weird, undefinable thing.

I think that's the job of a director really, to sort of funnel all the creativity into one centralized point of being.

I think that you can't make a movie without a script. But you also can't make movies without actors. You also can't make movies without technicians. And there has to be just one person in charge of everybody, and to me that one person is the director.

I think the best work of the director is to listen to what all the technicians around him have to say, but then the thing is to take the best decision, what you think is the best. Then, that is the moment where you have to have all the film in your head and imagine how all of that will fit together.

I think the financial restraint really pushes me as a director to be more creative with the way I shoot the film.

I think the other honest attraction was that I just grew up loving watching TV and loving watching film, and there's so many directors and actors that I dreamed of working with, I just really wanted to take a crack at it and see if I could ever work with some of those.

I think the perspective that small-town directors bring to films is very different.

I think the wonderful thing about doing theater is that it's more of an actor's medium. I think that film is more of a director's medium. You can't edit something out on stage. It's there.

I think the most insulting thing you can do to a director is to challenge when he or she is satisfied with your interpretation.

I think the mark of a good director is that they surround themselves with good people.

I think the writer's quite low down in the hierarchy really. But the fact that they took the piss out of Nicholas [Hynter] who, besides being the director, is also director of the National Theatre is, I'd have thought, slightly more risky.

I think we all have limitations, as directors. I don't care what the budget is, it's probably never enough money and never enough time. You figure it out. Sometimes the limitations bring more creativity.

I think to be a good director you have to be a good person and you have to care about people.

I think what makes a good actor's director is the same thing that makes a good director. Acting is just one of the trades necessary to make a movie.

I think TV is much more the writer's medium and film is about the director and their vision and how you can collaborate with them and see that through to the end. They are so different

I think what makes a good actor's director is somebody who understands what I'm doing and is respectful of it, but who also has a vision and is directing me toward their vision in a way that feels productive.

I think women directors have to be really tenacious.

I think women have made progress in cinematography, contrary to women directors, who I think have regressed. There are many more women cinematographers than when I started.

I think when you have some success as a kid, your notion of being a good actor is pleasing the director, doing exactly what they tell you to do.

I thought all I had to do was to buy a camera and become a film director. So when I left school I worked at a telephone company, which gave me the money to buy the basic equipment including the camera, the projector and the screen.

It is great to work on different scripts with different directors who have different styles. You get so much experience from that.

I thought it was a huge conflict of interest to be the director and the subject - it's very sketchy territory to be in. I've seen what's happened to other directors who have done that.

I think with the smaller-scale projects, the burden for success falls more squarely on the shoulders of the actors and the director and the script.

It is so great to go to a casting director and have them wanting to talk about the show that you are in. It's such a great icebreaker. It just makes the environment so much more relaxed.

It is tough to be a woman. Also as an actor, but more so as a director. And even more today, when distributors and producers are looking at different kinds of films and maybe not necessarily what a woman would want to do.

It is universally agreed that Jean Renoir was one of the greatest of all directors, and he was also one of the warmest and most entertaining.

It is only the untalented director who imagines him or herself in every part, wants his or her own thoughts and emotions portrayed; it is only the untalented who make their own limitations those of the actors as well.

It just so happened that J.C.[Chandor] was a first-time feature director, and his script was exactly the kind of thing we were looking for.

It really depends on the director. I think quite often, it's not what you expect. The most serious film can be the most fun. The one that's supposed to be fun can be the most serious. I don't think there are any hard-and-fast rules. I just think it really depends on your director and what the general vibe is.

It [moviemaking] is not really done on a yearly basis. It's about how the material, and when the material comes in. If you develop your material and the script comes in great and you can attach a director and a cast and go off and make it, then I could make, I don't know, six [movies] a year. Or I could make one. It really depends.

I try to add as much as I can before a director says, 'Harold shut up!'

I try to just make what I want to make or what I would want to see. I try not to think about the audience too much.

It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.

It's a collaborative art form where we can both learn something from the other. That's what you want from the relationship with a director.

It's all about the director for me; we have to click. It's a trust thing. I'll say I'm ready to let down my walls. I'll cry for you as long as you need. But you're going to have to hug me afterwards.

It's always interesting to see a director trying different things, and on top of it, doing it right each and almost every time.

It's a lucky circumstance when you get to usher in new work, because you are able to ask the playwright and the director (who in a new work is always in dialogue with the playwright) an unlimited amount of questions.

It's always the script first choosing roles. [Then] whoever else is attached. I never like to be the first person attached, because I don't really trust what's going on, unless there's a really good director.

It's always the story that interests me.

It is very difficult to follow your own method all the time because you may crash against some directors who want from you something different. Trying to understand the material, who you're working with, and how can you fit in there. That is my approach.

It's a roll of the dice when you're a first time director so I prefer to work with people that know more than I do, but that happens less and less as you get older.

It's a surreal thing because you are there and made up and dressed up as if you're making the film. You do the scene, which is going to be in the film, and I met him [Daniel Craig] and I'm working with the director, and so it is different to just a normal audition.

It's a writer's or director's role to be cerebral, whereas for an actor it should be a visceral, gut thing. When the action starts, it's best to turn the brain off and let it become an instinctual thing.

It's an extreme to go from an artist like myself to a commercial artist with art directors looking over your shoulder, or any other knucklehead telling you what your art should look like.

It's dangerous for one actor to advise another one, especially when you're not in charge. On the set, I'm never gonna tell another person, "Here's what I think you should do." That's a discussion they should only have with the writers, producers, and directors.

It's either because of the number of times the scholar puts the boot into Peter Jackson the director of The Lord of the Rings films or is making a point they have never heard of.

It's an important thing to have a relationship with the director, and have it be a positive one.