Quotes About Directors

When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.

I worked with young directors all my life, only young directors.

There`s only one list that`s more illustrious than the list of directors who won the Palme d`Or. It`s the list of directors who didn`t.

I feel like I've been very lucky with the directors. The characters I've been offered, especially lately, have given me the opportunity to play all of these different women. I always wanted that, and it's something that you cannot do by yourself. If you want to play a diversity of characters, somebody else has to have the imagination to give you a role completely out of the box. We depend on somebody else's trust, and these directors are giving me their trust, and I am grateful for that.

There have been directors that I did not enjoy working with, but for the most part I realize that I have been unbelievably spoiled in my career because I have worked with some of the greatest, greatest directors ever.

You often hear this about directors, how its like having the best set of toys. This fabulous train set, the biggest box of toys that a kid could possibly have. The best directors look like a kid having more fun than youre supposed to have.

I've been fortunate to work with good directors who understand improvisation and understand the way comedians work. Luke Basan let me do my thing like do what you feel and take the character to another level. Quentin Tarrantino was more of an acting coach. He can teach you beats and then hell say go with it but give this feeling. So I've been fortunate to work with good, seasoned directors.

My height can be a problem. A lot of directors and photographers are sometimes not happy because I'm pretty tall and especially if I work with short actors the difference can be pretty massive.

There's another aspect about the Seventies. Blazing Saddles, as wonderful as it was, sort of hurt the Western. It made such fun of them, that you almost couldn't take them seriously from that point on. That's why only Westerns that had the stink of Watergate or Vietnam could be taken seriously. There were so few Westerns made since then, from the Eighties on, that the few directors who did were so pleased with themselves and so happy to have the opportunity that they got lost in visuals, they got lost in the vistas and the pretty scenery.

I think that some of the writing, directing, and the content is better than a lot of movies sometimes. Actors, well artists in general - actors, writers, directors - what we all care about the most is good work and being able to create something that is really resonant and meaningful.

I just realized that I need to be a director - for two reasons. One, directors were already my heroes at this point. I wanted to; when I wanted to be an actor I wanted to work with this director. Not work with this actor, I wanted to work for this director.

If it were up to the executives, they probably wouldn't have directors at all.

Being a producer, I deal with a lot of different directors, and some of them would drive me insane with all the different histrionics, and the mystique that they carry.

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

Different directors have different techniques in the use of films. Cronenberg is very different in the way he works with film, and how he takes the audience into his films is different than how Peter Jackson would do that or Jon Stewart. So, if you go between those artists, you shift gears and you kind of fall into the working method of that film.

I had a sort of bad experiences as a playwright early on, when directors were putting in huge concepts that I didn't intend, or they were stylizing something that was compromising the play, so I started to think like, "well if I'm going to fight against this, I should learn how to direct".

The bigger the budget, the more people that you have to coordinate and it's not easy to do that always because, not only do people have trouble communicating in that way, but often there are internal disagreements and everybody is not necessarily on the same page. Even in a big-budget movie with famous actors and directors, everybody could be on a completely different page. The director has to figure out a way of getting everybody on the same page, more or less, and keeping them there.

If you look at the types of directors out there, I'm not as weird as most of them.

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.

Directors should not be forced to advocate anything in their works because of their demographic identity.

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

The more that I can work in different mediums, the more I can grow, and learn from different actors and different types of actors and directors and different styles of acting and build a tool box.

It takes great skill to tell a compelling story in under 60 seconds. These five directors have mastered the format, using their talent, craft and imagination to provide us with some of the most innovative filmmaking out there today.

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

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

My whole family is very artistic - my uncles are all actors and theatre directors.

If the United States is to produce a nation of investors-as we must if we are to gain financial world-leadership-it is imperative that boards of directors be so constituted as to adequately represent the interests and inspire the complete confidence of investors of moderate substance.

I worked for John Ford, Howard Hawks, Henry Hathaway, Raoul Walsh - I worked for some real good directors.

Directing is the last frontier for women in the movie business. We are studio heads, we are producers and we are writers, but we are not directors in any numbers.

The job is exactly the same, it just goes on for longer on TV. Most feature films are 35-40 shooting days. This has 10 parts, with different directors for each block. We shoot with two, sometimes three cameras.

I was lucky that I was getting exposed to a lot of different kinds of films, and I was liking them all. So it seemed logical to me that you could - as in the style of the studio directors of the 30s and 40s - jump from one genre to the next, with the same satisfaction.

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.

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.

My dad is an engineer by trade but worked a lot with the people in the Indian film industry when I was growing up. He started out distributing films from India here in the '70s because there was no place to go for people to watch movies from the homeland. So he developed a network of actors, writers, directors, and musicians that became his friends and that he would tour around the country with, doing stage shows of the musical numbers from their films.

Be collaborative. I've had some of my best experiences with directors who were able to sit down and have a conversation and ask me what I thought.

As an artist, program directors always want to put you in a little box.

There's very exciting directors who haven't made a feature yet. That's what's cool about the job - the ever-changing landscape of people you could potentially work with.

In my experience, directors who are the most comfortable with themselves and confident in their work give you and everybody on the crew the freedom and the space to create. It's the people who are more insecure who feel the need to control and micromanage.

I want make more records with my sister. I want to go on the road. I want to tour around the world. I want to continue to make great films and work with incredible directors that I respect and look up to.

In my experience, the best directors I've worked with hired people for a purpose. They hire them with trust. There's not many notes. There's confidence and support.

Look out for each other. I think the more we support each other as a community, the more successful we will be. I'm a part of Film Fatales, a collective of women directors who meet to share advice and provide support for each other's projects. I think the more we can build an old girls' network to rival the old boys' network, the better off we will be.

After Star Trek, I was with the top agencies, but producers and directors did not know what to do with me.

Growing up and applying to college, I just imagined that I would study acting. But then, once I went to college, I realized I was more interested in all the aspects of filmmaking as opposed to all the aspects of theater, which is what you would have to do if you studied acting at a liberal arts school. And so I thought, "Oh, I'll meet directors and filmmakers, and I'm an actress, so I'll become friends with them and hopefully be in their movies." And then It worked!

I'm really, really happy with what I do for a living. I mean, that's what I consider work, like being on set, bringing a character to life and, you know, working with other actors and directors and stuff.

It's hard not to be enthusiastic when you like what you're doing and I love what I do. I love writing stories, I love coming up with ideas for new projects and I love the people I work with, because I work with great writers and artists and directors and actors.

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