Directors Quotations | Page 4

Maybe I have just a younger voice than many other directors.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.

I love movie directors. I don't care who it is.

You work with great directors and terrible directors, and so you learn; you take what you think will work for you.

I've been really lucky in terms of film projects with people, terrific actors and also writers and directors that I really respect.

The whole world of 'Game of Thrones' was realized with such detail, with directors and writers who really geeked out and really loved all the little bits of it.

I used to play a lot of foreign women in my youth because I was prettier then. I would go for interviews, and directors would look at these sultry, exotic looks, hear this clipped accent and think the two don't go together. So they would give me a foreign accent.

Companies the size of PepsiCo is like running a little republic, there is no question about it. The only difference is that I don't have to worry about the media hounding me every day, on every word that I say. I have a board of directors that runs the country in the interest of the stake holders.

If you're not prepared, and you're not passionate, and you don't push yourself to a level of human exhaustion on every level, mentally and physically and creatively... I've seen directors who approach it casually, and they do somehow maintain better hours... but I could never be that guy. I am up and editing all night.

The time I'm not spending with my kid has to be worth it, so when I sat down with my agents after I was ready to go back to work, I told them: It's all about the directors.

I always choose my movie because of a director and a story and a, a character.

Well, in the theater, I think you're actually more responsible for what is going on onstage as a director than you are in film.

The way I see it, when I go out as an actor, it should be on a type of film I'm never going to do as a director.

I think drug movies free the director to make intense films

Jim Brooks is a very powerful director and it was a lot of intense work

I loved cinema while growing up and, for the longest time, wanted to be a director.

A good script and a good brief from the director is enough to let me know what is expected of me.

Unless you're the director on the movie, or putting up the money for the movie, you really don't have a lot of control.

In my last year of drama school, I was Abigail in 'The Crucible' and Nina in 'The Seagull,' and I did some Shakespeare with the RSC. That's what casting directors saw me in, and I got put up for a lot of period drama auditions. I always get told I suit the costumes. I don't think I have a very modern-looking face.

I was on the state board of directors of the American Civil Liberties Union.

I acted for so many years and sat on a million sets and worked with a million different directors so that is to me some of the best training you can get.

I love doing big movies. It's awesome! You have all these toys. The thing I like about this movie is, like they always say, directors have the biggest train sets! Don't tell anyone, but I'd do this for free.

All I mean is, I'm not the kind of audience comedy directors want at a test screening because I seldom laugh, and if I do, it's not very loud. That doesn't mean I don't like the movie.

In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.

David Mamet was great to work with. He was everything that I thought he would be as a director. He's incredibly articulate, an easy collaborator. Extraordinarily knowledgeable about film and writing.

They say that theater is the actor's medium, television is the writer's medium and film is the director's medium, and it's really true.

There are some directors I hear about in nighttime or some I used to work with who walk around like gods.

A lot of directors want to storyboard you, whereas the best way to get a performance out of an actor is a collaborative process where you listen to the actor's input.

If you were in the film industry at that time, you were always picked up by directors who were much older. You were whisked about and shown things. I did work very hard though.

Nowadays they have 12 directors and 15 producers and 30 writers. And all the writers want their lines said a certain way-which isn't necessarily funny. I mean the lines aren't necessarily so funny to begin with.

When we did concerts, we wanted them to be theatrical events - collaborations with designers, choreographers, and directors - because we thought traditional rock concerts were boring.

So many directors say nothing beautifully, and so many others say great and profound things but have no idea how to read a light meter or arrange a shot.

You're in the business - when you're a writer, producer, director - to get ratings.

I can count on one hand the directors who actually directed me.

When you're artistic director of a program, you present the music you want to present.

How can you have a director that doesn't go to work with the crew every day and talk to them?

And I just want to work with good directors and good people.

European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films

I don't feel that I was often compartmentalized as an African-American actor, yet I am fully aware of the plight that actors, directors and producers of color face in our industry. I choose to focus on being proactive in creating opportunities for myself and others while acknowledging that we are not playing on a level playing field.

There are things that directors know about me that people shouldn't know. But everyone's really different. I've worked with women who I've never wanted to tell anything about myself to, and I've worked with guys who have been pouring wells of emotion. So emotional availability is not a gender-specific thing.

My generation of director has no illusions that we are going to be fed and cared for by subsidized theater in America.

Some musical directors have more chutzpah. They pick up the phone and talk people into giving. I prefer to call and say 'thank you' after the money has been contributed.

I'm one of the lucky directors that pretty much every movie I've done has started a franchise. But I never think this way. I think that's the way you break it, if you go, 'then at the end, at the end we'll see you later.' I was forced to do it in 'Clash of the Titans.'

The more successful the villain, the more successful the picture.

All of the directors I've worked with I have loved and would work with again. I have no favorites.

I guess confidence is the only thing that I take from project to project, but I'm always open to learning everybody's style - the director, the actor I'm working with.

I love it when the director says, 'Rebel, just do whatever you want.' I'm, like, 'Yes!

When I was the director of Central Intelligence in the early '90s, I tried to get the Air Force to partner with us in building drones. And they didn't want to, because they had no pilots.

Even a modicum of celebrity is hard to deal with. You see it with actors and directors all the time.

There's a wonderful stable of directors I've worked with, and work I've done that has dignity and meaningfulness.

My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I'd like to build something to that effect.

There were movies that always made me want to be a director. You see brilliant scenes and the way the emotions were handled. I thought, I'd really like to do that.

I was really amazed when I started hearing 'Songbird' on the radio. I couldn't believe that the record company promotion department had actually convinced radio music directors to play it -because there wasn't anything like it on the radio at the time.

I would love to do a talk show. Naturally, I would love to do more films. I'd love to be able to see casting directors more willing to put in a character who happens to be deaf. I'm not talking about doing deaf storylines, but putting in deaf characters. I'd love to be able to do Broadway.

Were I not married to the director, I'm not sure I'd know anything about the 'Underworld' sequel.

Good evening, ladies and gentleman. My name is Orson Welles. I am an actor. I am a writer. I am a producer. I am a director. I am a magician. I appear onstage and on the radio. Why are there so many of me and so few of you?

I don't think of myself as a director or writer. I think of myself as a filmmaker.

Get more women producers, writers, directors. Why should we expect men to do it for us? They can't

My parents said, Oh, he's going to be a director someday. I wanted to be an actor.

I'm not a real film buff. Unfortunately, I don't have time. I just don't go. And I become very nervous when I go to a film because I worry so much about the director and it is hard for me to digest my popcorn.

Wong Kar-wai and Ang Lee are two Asian directors I'm really fond of.

I became, and remain, my characters' close and intent watcher: their director, never. Their creator I cannot feel that I was, or am.

When I started out modeling, there weren't casting directors and there weren't stylists, so you just dealt directly with the designer. We were all much closer back then.

When I feel like being a director, I write a novel.

Movie making is really, it's a director's medium, it's not even so much an actor's medium.

As I told the students every time I visited a campus, you are the director of your own movie, and if you aren't enjoying what you are doing, change it.

Every Story is different, Every Movie is different, Every Director is different.

When you're the director, you kinda do all the work.

I want all my films to look distinctly different, like some other directors I admire. But in a way, I can't really take myself completely out of the movies I make.

I love Sam Mendes. He's a fantastic director.

It's really rare for film directors to be that interested in things other than themselves.

When I think back on it, of course I got lucky and got great directors and good breaks but all that was the physical part. But what made me a star was that I could take a chance and not have anything to worry about in terms of losing.

Guys never looked at me. I always had crushes on older seniors who never looked at me. So, when I tell directors that I wanna play that girl who gets rejected, they're like, 'Why?' I tell them it's because I relate to that girl much more than being the girl who makes jaws drop when she walks into a room.

When you are doing stand-up comedy, you are the writer, producer, director, sometimes bouncer.

I love Malcolm Lee and jumped on the opportunity to work with him as a director.

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.

I want to pick good projects, I want to work with great directors and try not to put too much pressure on myself and just read things for the story and recognize when I'm drawn to something for the right reasons and try to maintain some sanity. Sanity would be good. I'd like to have a little sanity!

As an actor, youre always nervous as to what a director will do with something.

When I was a crusade director in British Columbia, all of our meetings were at 9:03. Somebody said 'That's ridiculous. Why did you do that?' It's because you remember it. You've never been to another 9:03 meeting.

There's a whole system in Hollywood where the director never speaks to the studio, but I like to engage them in a discussion. I listen.

I really hope someday in Hollywood, some producer or director will hire me only to do drama.

Directors have to push me. I have to be pushed up. Not all the time, but often.

I find it kind of weird that directors want to put themselves in their films.

How many movies do you see when you can say this director really knew what film he wanted to make? I can count them on the fingers of one hand.

I did direct two short movies. I learned many things, and one of the things I learned was that I am not a director. It has to be visceral, and it's not for me. I feel much more comfortable acting.

There are a lot of directors who are knowledgeable about images, and others who aren't.

Tell me one director who will go on record to say that I don't get along with them? I get along famously with all my directors because I am what I am today because of them.

When I grow up, I still want to be a director.

Certain directors are known for a certain kind of beauty; it becomes their signature.

Don't get me wrong: I'm overjoyed with my career to date. But perhaps I could have done more. Mostly, I just did whatever the directors told me to do.

I think directors should be confident in their leadership capabilities. I think directors should be confident in what they want to do.

If the director says you can do better, particularly in a love scene, then it is rather embarrassing.

But if one could go back in time, I'd love to have been directed by Howard Hawks, who's one of my great heroes. One of the greatest directors there ever was. He directed probably one of the greatest westerns of all time in 'Rio Bravo'.

Every casting director I've met is a woman.

I love being on sets with very seasoned directors as well as very new directors. Every time is a discovery process. You learn something new every time.

As far as directors, I'm a big fan of any kind of Billy Wilder stuff. Anything he does.

Some directors have just one way of working; you either have to adhere to it or you don't.

In the age of activism that is clearly not going away, it would seem that some form of engagement from directors with shareholders - rather than directors simply taking their cues from management - would go a long way toward helping boards work on behalf of all shareholders rather just the most vocal.

Screenwriting is the most prized of all the cinematic arts. Actually, it isn't, but it should be.

Sometimes I call directors. Sometimes I just meet with them. It just happens. It's not that I'm pushy. It comes naturally. But I go ahead. I don't stay in my armchair, waiting for the phone to ring.