Best 1750 quotes in «directors quotes» category

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    Even if my movies weren't big blockbusters, directors generally liked me, so they would fight for me.

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    Even the most elitist director or author who claims that he doesn't care if his works are seen or not, then I have to think that he's either a liar or a hypocrite.

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    Even with revivals, I dont really pay attention to previous incarnations. I always just go with the script and with the director and am willing to treat it as brand new.

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    Every actor. every director, everybody needs an Oscar. You have to have that little statue in Hollywood or else you are nothing.

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    Every actress has a line she'll draw, where she'll say, 'This I will do and this I won't.' For me, everything has to be important to the story and the director has to be able to tell me why.

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    Every actor you work with has a different method, same with the director. You have to figure out what your shared language is and how to best support each other, and also take care of yourself.

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    Everybody just asks me 'Are you going to make Hollywood movies now?' First, I don't know. Second, I never dreamed about that; I just dreamed about making movies with Tarantino. So if I can make movies with a lot of amazing directors - yes.

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    Every decent director has only one subject, and finally only makes the same film over and over again. My subject is the exploitability of feelings, whoever might be the one exploiting them. It never ends. It's a permanent theme. Whether the state exploits patriotism, or whether in a couple relationship, one partner destroys the other.

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    Every director bites the hand that lays the golden egg.

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    Every film I've ever worked on, and that includes 'Braveheart' and 'Trainspotting,' I've always witnessed a director having a breakdown. Every director will have a day, without exception, where they just can't do it anymore, they don't know what to say to their cameraman, their cast. It's the sign of real, physical exhaustion.

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    Every director works differently but one thing's important: they must have a vision. If they don't have a vision I don't care how they work.

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    Every director should take an acting class.

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    Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.

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    Every film had its own grammar. And it's your job as a director to basically figure out a language to tell a story.

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    Everyone can do a character the way they want to do it, unless the director tells them not to, which isn't very common. I like to do my characters, if it's not specific in the script, as myself.

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    Every part I've done has been for one reason or another-money, or the part, or the director, or the location. I'd like to get one thing that's all of those combined.

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    Every relationship should eventually become a long-term relationship. Any director that I meet now isn't just a director. He's potentially a friend, and someone I can call to do a project that I want or that I have. That's what I mean when I say branding and developing yourself, as a business.

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    Every single director-actor I talked to, from Warren Beatty to Clint Eastwood to George Clooney, said the biggest mistake they made is not shooting enough footage of themselves.

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    Every single time when you act in a film, and there's a different director, which of course as actors we're used to experiencing that's what we do, it's a different experience.

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    Everything is entertainment; criticism is now entertainment and it seems that the French directors have woken up one day and suddenly realised that they were not backed up any more.

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    Every time I work with a European director, I find they hire the person that captures the spirit of the role. Americans tend to hire the best face. The person that looks more like the role, whether they can perform the role or not is a bonus.

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    Every time you start a movie is to explore with a director and if you can with the actors and with the other collaborators and try to figure out what's the best way to tell the specific story.

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    Favourite directors change, like favorite authors. I had a passion for Gide and Stein and Faulkner. But now they're no use to me anymore. I've assimilated them - so, enough, they are a closed chapter. This also applies to film directors.

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    Fifty-percent of the director's job honestly is casting the movie well.

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    [Fifty Shades Darker director] James Foley directed Fear. And that's what I love about this film, because it has a real sexy thriller element about it.

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    Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.

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    Film works when a director and a star have a connection. You know, when there's something telekinetic between them, there's a partnership, it's like alter egos. It's like James Stewart and Alfred Hitchcock, or Fellini and Mastroianni. I'm not comparing, I'm just saying, if you can come into a relationship where the director and star have such a bond, it's so much easier to make a movie.

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    Film's hard when you don't have any relationship with the director at all and you just show up. Then you really are just a gun for hire.

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    First, there has been a lot of interest in The Drive-in, but, alas, it hasn't actually come to fruition. Maybe soon. Don really got Bubba and I didn't think it could be a film. I thought it was too odd to make it to film. He asked me to do the screenplay, but I declined. I didn't see that it could be a screenplay but he wrote one and proved me wrong. He was always considerate about what I thought about the film and the story's presentation, but in the end, he's the director and he had to make decisions. All good ones.

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    For a director and a producer to be named on the writing credits is practically unheard of.

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    For a director, the most challenging scenes are the dialogue scenes.

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    For any director with a little lucidity, masterpieces are films that come to you by accident.

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    For any role, I pretty much always go to the script, first and foremost.

    • directors quotes
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    For me, a director is a director immaterial of the gender. At the end of the day, the audience is only interested in watching a good film.

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    For many years, my favorite director has been the Japanese giant Akira Kurosawa.

    • directors quotes
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    Everything is the director's fault - you can quote me on that. There are no excuses.

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    Every time I feel that I really hit critical mass and I'm in the right place is when I feel like the director and I become a third thing, and that's the character.

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    Every time I was cast in a role, the director put a gun in my hand, so I figured I’d better learn how to use one. Then I found out I really liked it.

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    Every time you say yes to a film there's a certain percentage of your yes that has to do with the director, a certain percentage to do with the story, a certain percentage with the character, the location, etc.

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    Existence for eternity could get a little boring... especially towards the end.

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    Farmiga proves as fearless a director as she is an actress. She lights up Higher Ground.

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    Fathering is a major job, but I need both things in my life: my job to be a director, and my kids to direct me.

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    Filmmaking is a creative process so there is a lot of collaboration that happens on set between an actor and director, but at the end of the day, we're there to actualize the director's vision and things happen organically.

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    Film buffs who don't live in Hollywood have a fantasy about what it's like to be a director. Movies and the people who make movies have such glamour associated with them. But the truth is, it's not like that. It's very different. It's hard work.

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    Film is the manipulative medium par excellence. When you think back on the history of film and the 20th century, you see the propaganda that's been made. So there are moral demands on the director to treat the spectators as seriously as he or she takes himself and not to see them merely as victims that can be manipulated to whatever ends they have.

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    Force Majeure is a jolt. You won't know what hit you. Director Ostlund shifts gears from humor to psychological thriller with cunning skill.

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    For film, I audition just like everyone else, because it's a different set of casting directors.

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    For me, creatively, I'd suffocate if I played the same thing, over and over again. I want challenges. I want to sit down with a director and be like, "I've never done this before, but it's going to be exciting. It's scary, but really thrilling, so let's do it!

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    For me, being a director is about watching, not about telling people what to do. Or maybe it's like being a mirror; if they didn't have me to look at, they wouldn't be able to put the make-up on.

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    For me, the greatest kind of success that I've had on a particular project or in exploring a role does come through collaboration. I wouldn't want to do a movie where everything I do the director just says, "Good job" and I'm under directed.