Quotes About Directors

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.

Playing Japanese characters and being in environments that are Japanese, like a character's apartment or whatever, if you have directors or art directors who just don't know what' s what with Japanese culture, then pretty soon something's just passed through. I've been through many times where I've pointed out the incorrectness of so much of what's been done to a set.

Some directors can tell stories and it becomes very intimate and small, and it's almost like a secret. Some directors have the gift of finding a way to show it and tell the story, in a way that brings in the audience.

Searching out directors you respect and that you can learn from that's always the dream. That's the goal. That's hopefully where this whole thing is leading, and what better way to learn about directing and learn about what works and what I like and what resonates me than by working with a bunch of great directors.

Of course, even if the directors like my ideas or the designs I do, they may end up changing the story so much, that those characters have to change, or get cut out altogether, and that's just the way it is. Sometimes the directors are designers themselves, or they want to work with a character designer who will do things in their own distinct way - sometimes the most important thing I do is figure out what they don't want to do, by experimenting. Either way, whether they use my ideas or not, I get paid, so it's all good.

A lot of new American directors have had mentors who have given them advice. And some of them have had the way paved for them by huge Hollywood directors who saw a younger version of themselves.

As actors, we have the opportunity to work with many directors. Directors only work with themselves and other actors. They never know what it is like to work with another director. So that relationship that one has with a director is entirely always the king.

When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like youre in the way.

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.

Yes, there are directors I admire, the mavericks. Altman. There are many good directors.

Sometimes, when you work with directors who have done it a lot and are established in the business and know the game, there are all these rules that they have. First-time directors will allow you to come in with choices. They're not so jaded by actors that they're like, 'Ugh, just do your job, man.

I like bold directors. I like directors that go against the norm in a way.

It's not often I get to do a film that turns out good. Plus, there just aren't that many great directors out there. There are a thousand different decisions that need to be made with each script and it's the good directors that can make those decisions. It's a long and complicated process in regards to what looks good on paper. Working on a bad film can be fun too. It can be a good exercise that gets you writing.

I think film is a world of directors. Theater is a world of actors.

What I've grown to hate in my 'old age' is shouting directors. I find anybody who screams and shouts to be difficult to work with... especially because the people who scream and shout tend to do it at runners, and not at the main actors. They make a great amount of noise and it's often at someone who is an easy target. I love working with people who are calm, even if my role is peripheral. I like people who realise that this is just a film... that we're not going over the top in No Man's land and screaming for our lives. There's just nothing to be gained by volume.

If Martin Scorsese calls, I am available. And then there the ones, well, you can just run down the list - any of those Oscar-nominated films, they have amazing directors across the board.

There are a lot of directors out there that don't like to deal with actors, I think. Many of them have said something like, in the future they will actually manipulate the actors on their computers. But don't believe all this.

Some directors are like it's their... nothing can change, nothing can move. I like collaborating, even when an extra has an idea, I like to bring to really have collaboration.

Directors and producers were afraid of a Dumont actor while at the same time they admired him.

I think great directors really respect their actors and vice versa. That mutual respect makes the job fun instead of anything but.

I'm just trying to choose interesting, quirky projects or things with interesting directors or just movies that have a lot of people I like attached to them so I know I'm going to have a good time.

I always wanted to direct. Directing is a lot more of a commitment though, a lot more time. I like directors who do very few takes, they know what they want.

Most directors make films with their eyes; I make films with my testicles.

I know a lot of directors have a whole staff of people trying to find their next film for them. I always just end up writing mine.

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.

Maybe I'm too masculine. Casting directors cast in their own, or an idealized image. Maybe I don't look like anybody's ideal.

The directors thought, They understand nothing in the real economy, in real life. They read some stupid books, and they came from the moon to the earth, and maybe in one month they will disappear.

One of my first jobs was in a soap opera, five days a week. And what I found is, although there are different directors coming in and different crews, you just lived in your character. It's the nature of the story, the ongoing story, and it can get deeper and deeper.

Of course I am a child of European culture. There are a number of great directors from which I learned, but there is nobody in particular I got inspired from.

You're in a movie, so you have to think about how something plays. It's not like you're thinking about how an audience is going to react. You're trying to present the story. You're trying to illuminate the lives of these people in the story. So I'm thinking about how my behavior as this character best illuminates what's going on with them in this moment in time. I always say it's sort of the director's job. People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.

In the best of all possible worlds, directors would obsess about the quality of their storytelling, and not the details of their technical methods.

I always have directors who are somewhat frustrated because they'll reference a beautifully obscure film from the '50s or '60s or '70s, and I've not seen it.

I think the press is doing a wonderful job of putting the pressure on the decision-makers in Hollywood to support more female directors.

Nollywood is a genre, and not the entire Nigerian film industry. However none of the 'New wave' of directors in Nigeria would know what was possible without the Nollywood model, so I'm grateful to them for showing us that our stories are of interest to people other than Nigerians. I would describe myself as a filmmaker, period.

Now, I have big-money offers on three movies, and I have director approval. That's kind of scary,' he says. 'No directors have been attached. That's a lot of pressure on me

Simon McBurney on "All My Sons" on Broadway - we had an eight-week rehearsal period and I really enjoyed the way that he prepared us to go onstage. It was different than anything I've done and it was a different way of being directed, so I tried to take my different experiences of these directors and give those to my actors.

I'm just happy when directors make a movie that is really sentimental but without being maudlin or saccharine or too much like Chewels gum. I don't want to be involved in a movie that's too much like a piece of Chewels.

The greatest directors are the greatest users. They use people's talents to tell the story that they want to tell.

Directors are the captains of the ship, and it's your job as the lead actor to make sure that the rest of the cast understand that by doing whatever he says.

I've always felt it's the directors purview to say what; it's the actor's purview to say how. It's not good for an actor to have the big picture in mind - it bollocks you up. An actor's purview is the tiny little... We measure our performance in seconds.

When I look around and see how aged cartoonists continue to work on their manga and how movie directors create new movies all the time, I understand that they would never retire. And by the same token, I guess I will still be making games somehow. The only question is whether the younger people will be willing to work with me at that far point in the future.

You hear stories about directors using manipulation to get actors to do certain things, but I think when you're working with professional actors, it's all about trust. They can do anything you want, it's just a matter of them understanding what you're looking for, and the reason why.

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.

You wouldn't believe how many FDA officials or relatives or acquaintances of FDA officials come to see me as patients in Hanover. You wouldn't believe this, or directors of the AMA, or ACA, or the presidents of orthodox cancer institutes. That's the fact

One of the great things about this cast is that we've been able to take actors of relatively the same age group that would never usually meet. You know, like bridging the comedy/drama world that for some reason casting directors never really want to bridge or you get into one community and that's kind of it.

Paris is the playwright's delight. New York is the home of directors. London, however, is the actor's city, the only one in the world. In London, actors are given their head.

Sexism is real and it persists in film and television. I've seen female directors openly undermined by male cinematographers in front of the entire crew

Very broadly speaking, you can put directors into two areas: One for whom you work, and the other with whom you work. And I prefer the latter, for obvious reasons.