Best 1750 quotes in «directors quotes» category

When you're making a television show, it's about the story and arc of the show rather than any particular episode or director.

When you're the director and the writer, you never have to remember your lines, and there's no one to call you on it. On Garden State I did different lines on every take, just making crap up. And it was great each time.

When you're on stage with an audience, the director's nowhere to be seen. He's onto the next job.

When you're really working well with a director then you can be as outrageous as you like and so can he. And there's no worry about it.

When you see the films of certain young directors, you get the impression that film history begins for them around 1980.

When you shoot a film, when it was film, there used to be rushes and normally a director would look at them the next day. All directors look at the rushes, except for Fellini. I asked him why he didn't and said, "Because it interrupts my fantasy." What he was trying to say was that he had a three-dimensional, vibrant, living, volatile fantasy going on in his head, and when he looked at rushes, they were two-dimensional and they killed it.

When you're not gaping at Megan Fox enough to listen to what the director's saying, you can get some work done.

When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.

When your set is led by a great guy and visionary like Director Tim Miler and a true superstar talent like Reynolds who's so easy to connect and improv with it allows it to be a lot of fun along the way.

When you start a new project and they say, "Your director is going to be Joe Blo," you're hoping that Joe Blo will be the next Martin Scorsese, but it doesn't always work out that way.

When you work with a great director, you realise you are far from being a director.

When you work with someone you don't quite know, you have to figure the director out and you can come up with ideas that are counter-productive.

When you trust your director completely, then you can relax, be spontaneous, be malleable.

When you work with a great director, you can have a great partnership.

Whether you're a cameraman or a director, you should ask yourself every now and then, 'What am I trying to do?' Be honest and keep things very simple.

William Castle and Alfred Hitchcock were the first director-personalities. Before then, nobody in America knew what a director was.

Why would people have confidence in a female director when there are so few?

Who would have thought that [director] Cameron Crowe had a movie as bad as Vanilla Sky in him? It's a punishing picture, a betrayal of everything that Crowe has proved he knows how to do right.

With an inexperienced director, a lot of times the days go on to 14, 15, 16 hours. It goes horrendously overtime. And because of the lack of money, they just keep you there, regardless of the hours.

With actors and directors, it's a conversation that you have. You have to learn each other's language and learn how to communicate with each other effectively. It's really nice when you can have that communication on a level where they walk up to you and you can see by the expression on their face what they want. You don't even have to talk, it just like, "Got it!" And, you know what they want before they even ask for it.

With Alien, because we always use a different director, each one kind of stands on its own. So I guess it's possible for them to make another one, but we have no plans.

With RoboCop, I couldn't be happier because it's such a quality director.José Padilha is a young master.

With the film, you have a bunch of executive producers, directors, writers, scripts. There's, management, lighting, the union and etc. There are so many components a part of that game, so naturally it isn't my world.

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.

With Kubrick and most film directors, they are in complete control, but one can influence them.

With my personal work I prefer not to work from storyboards because being a director, producer and animator in one person I don't have to communicate my idea to anyone else, I can keep the feeling of the story, the story arc and structure in my head.

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.

With every movie I produce, I learn something. I watch the directors. It's like the relationship you have with your children. I'm there to learn from my daughters. They are the perfect spirits.

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.

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.

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.

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 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.

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

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 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 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 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 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.