Directors Quotations | Page 5

I guess maybe directors see a face that seems to have been lived in. I know that my face has been lived in, yeah.

I'm getting my respect as a video director. The fashion industry respects me and knows who I am.

I watch movies all the time, so it's hard to pick certain specific directors that have inspired me in the aggregate.

I fear other actors who are not prepared. And I fear directors who are afraid.

I find it easier to play someone who is so far from me because you create someone - you build this person based on the story and the script, with the director.

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

I am tired of kissing on screen. I have to do it because it is synonymous with me. Also, the producers and directors want to add that element. I don't give it too much importance.

I can't stand directors who try to micro-manage everything. When it happens these days I just walk off set, saying if they don't like the way I'm doing it they can get someone else.

A film actor is just a victim of directors and editors.

Judd Apatow is pretty good, both as a producer and as a director.

Every time I make American film I just trust American directors and American writers.

I trust work, directors - I don't live in fear. All good experiences have come from trusting the universe. There is no other way to live or love. Otherwise, you create your own prison.

The directors you trust the most are the ones, when you ask them a question, they've got the guts to say, 'I don't know.'

You spend enough time on set as an actor and it's great when a director was at some point an actor or understands acting. They're able to finesse performances out of you that a lot directors can't get.

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.

One of the gratuities about being a director is that you can volunteer yourself out of difficult details.

I love westerns. John Ford is one of the 10 best directors.

I really respect the Coen brothers as directors and as creative individuals and with the way that they handle the industry and the business side of things.

There was always a part of me that wanted to be an old-time director. But I couldn't do that. I'm not a pro.

I am very clear that when I work with a director what he or she says is the last word.

I realized why directors are such horrible people - in a way - because you want things to be right, and people will just not listen to you, and there is no time to be nice to people, no time to be delicate.

I love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.

I'm not the kind of actress who asks a lot of questions of my directors unless it's something I really need to know.

You know, I became a director out of necessity. I was writing comedies, and I couldn't find anybody to deliver it correctly.

Over the years with movies, I've given directors notes.

'Ides of March' I did for scale - scale as a director, scale as an actor, scale as a writer.

I like directors who have worked as actors. They know the experience.

As a director you come in and tell the actors how good they are.

I would say that the directors that I've liked the most are all curious in nature - curious thinkers. They're all big questioners, I would say, first and foremost.

If you have a screaming angry director, everyone else will be panicked as well.

So, we come out to Los Angeles. And we met with every network. We met with show runners, directors, writers, everything. And what we had an idea for, they didn't like. And what they had an idea for, we didn't like. So, we went home.

It's hard to be surprised by a film. It's hard to be surprised by another actor or by a director when you've seen enough and been around. So when I am, or when I forget that I'm watching someone's movie, or when I don't know how someone made a certain turn that I didn't expect... You know, I'm in.

Sometimes the directors were afraid of what they brought out of me.

Any great director is also someone who is incredibly intelligent about whom they hire around them.

Voyeurism is a director's job description. It's an artist's, too.

Now I'm kind of established as a director, I much prefer directing to writing.

On set I keep myself to myself; I'd rather the director speak up. I'm not gonna direct a younger actor. I think the power of example works best, actually.

The point of having a director is that they make the final decision; it's their point of view, they set the rhythm and they make the final decisions.

I always say that in my career as an actress, I've always worked with people like David Lynch or Guy Maddin or Peter Weir who are considered not mainstream directors and that could be because they are like my dad. They are pioneers, and pioneers, by definition, invent something new.

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.

I look at the stories that Spike Lee tells... Great stories. Great director, great storyteller.

Good directors don't answer questions with their work. They generate debate and create discussion.

I have a real thing for Mexican directors. And I love Guillermo del Toro and Alejandro Gonzalez Inarritu.

The more shows that are produced, the more writers are hired, producers are hired, actors are hired, directors are hired, it means the more people will get employed. It's better for the economy. It's a fantastic thing.

David O. Russell is probably my favorite filmmaker. He's not only a great director, but he's also a great writer.

I've always noticed a difference between working with a director and working with a writer/director. In how much they're invested and how specific they are.

A director is a choreographer, both politically and creatively.

A lot of directors in my experience are very receptive. They see what you do first, and then they want to find a place to put the camera, and they tweak you here and there.

I know that some actors and directors like to have intensity on set. I don't, particularly. Certainly, if they want that, that's fine, but I can't work like that.

The best thing an actor can be is flexible, because all directors are different and all actors are different.

One longs for a director with a sense of imagination.

My kind of director is an actor-director who writes.

I just do things because I fancy the parts and the directors.

All you can really do as director is sort of set a tone.

I came up in the community center. I used to be physical director of the South Central Community Center in Chicago on 83rd. It's still there. It used to be around there when I was a kid.

Directing is more what I would like to get into eventually. Frankly, I feel like it would be a waste if I didn't because I've spent so much time on film sets, and I know how they work, and I love them, and I love leading them. I would like to do that as a director definitely.

One of the nice things about the world of filmmaking is that you make friends in the business. Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kicking around with that script for a while.

And I may often question choices I make as a producer. But I've never questioned the choices I make as a director.

All film directors, even the ones using 3-D today, want you to look at what they chose.

In films, I didn't crave the type of attention I had sort of stumbled into in my music career. And I do not audition well. I'm really not good at it. Early on, I did movies like 'Alpha Dog' and 'Black Snake Moan' because the directors didn't ask me to audition.

If you're a movie actor, you're on your own - you cannot control the stage. The director controls it.

It's very rare that you get a director that lets you be creative and bring what you feel your character should do or should be.

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've constantly done my best to get the best material I can get with the best directors I can get to direct me.

Really top-notch directors, I've often worked with them just to see how they work.

I love rehearsing, but a lot of directors don't, and some actors don't.

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.

You have to steal a lot. You have to have a criminal mentality to be a film director.

Usually directors hire me because I'm what they are looking for. But once in a while, and it's very rare, they will hire me and then try to make me over.

They offered me that film before I did Frida and I said, no, I'm not capable of directing. Then after seeing Julie direct, I was inspired by it. She motivated me to do it, because we don't have role models as woman for directors.

I feel terrible for directors of TV because all the episodes have to look the same. They make a great series for five or six years, and then when it's canceled, they can't break out on their own.

I've never played a Dane in a movie. I've had offers to be in Danish movies, including for some good directors, but I either had a job at the time or, when I was available, the movie just didn't happen. Hopefully someday I'll do one.

Many Mexican directors are scared to shoot in Mexico City, which is why there are many stories in Mexican cinema about little rural towns, or set a hundred years ago.

We are looking toward students being disc jockeys and program directors in the near future. Who knows, the next great radio personality could come from Union County.

There are some good writer/directors in the U.S. as well. In general the writing and directing tend to be separated but I bet that most of the directors have a big effect on the scripts. These days the studios tend to bring in hordes of writers.

We're going to play the game somewhere. I'll let the athletic directors handle that. I ain't gonna tell you Smith-Wills is a better ballpark than the new one, but it's been good to us over the years. They've done everything we've asked. They put in a new (playing surface), they put in new lights. I think it's been great for the people down there.

unless the nominating committee of our board of directors decides otherwise in accordance with our corporate governance guidelines.

unless and until its board of directors has approved a specific transaction.

We're pleased to welcome three individuals with outstanding leadership ability to our board of directors and we look forward to the contributions they will make for South Dakota corn producers.

Venice can become the place for confirming the importance of seven new directors that are now becoming, for everybody, the most important contemporary directors.

Directors say that you should get actors before they are recognized. They will be a pain or have an opinion.

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.

I like doing commentary. As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things. I often like the technical commentaries myself.

Part of the advantage, and part of the result of trying to be a producer and director, are the practical things, you find. It's so advantageous to go to a place that you already have a feel for, a literal and spiritual familiarity.

An actor really suffers when the director isn't prepared because you start running out of time for the shoot and then have to do it fast.

You have to be strong to be a carpenter, maybe, but the director of a film doesn't need to have muscles.

When I write something, I want the best director to direct it. And that's not going to be me.

I have a lot of respect for people who are great at ad-libbing, and for writers and directors who are able to create a scene in which that works.

Well, if you ask any filmmaker how they got into it, everyone came a different route. Ive never actually watched another director work.

A lot of directors prefer the solitude of the editing process, but I revel in the craziness of what a film set is.

Great directors can understand the staging in such a way that can make a scene come alive. Others have a certain way of pacing the scene.

If you want to be a great director, be a great screenwriter.

I would love to be a fly on the wall watching other directors and actors to see what their process is like.

Adrian Lyne is such an incredible director.

I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.

A director who gets $150,000 per year from a company and needs the money is not independent.

On Ernst Lubitsch: He could do more with a closed door than other directors could do with an open fly.

We were determined to do everything as a board of directors to get the field ready to play because we understand how important this is to these kids.

I had a 90-minute one-man show. I performed it and my life just exploded. Everything - my life just changed. Every writer, director, producer, studio head, movie star - they all wanted it. It was the hottest property since Rocky.

I like working with different directors; it keeps you on your toes.