Quotes About Directors

I don't want to rescind American directors but I think that European directors in general, because of the size of the nations in Europe are exposed to all different cultures, they can easily travel from one distinct culture to another in a matter of hours - you can drive for two weeks across the United States and you're in the same basic culture - so there is a certain breadth of understanding and sophistication that they bring to it and frankly, in some cases they are less expensive than American directors.

People are mystified by it and so they kind of think, the acting community thinks they're gonna be replaced by CG characters and animators think they're gonna be replaced by performance capture (and) a lot of directors, particularly European directors, who have no experience of it.

I subscribe to the great George G. Scott quote, "All actors are in trouble. Directors who don't help are a pain in the ass". We all need help from directors. We are all equally insecure.

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

I love Leonardo DiCaprio. He just makes really great films with great directors. He has great relationships with directors but also has a great social awareness. I think he balances his work with his responsibilities to his world, the environment, things like that very well. I'm very impressed by him and I admire him a lot. And other actors like Joaquin Phoenix, I just look at him and marvel at his unexpectedness, just his work really.

Television can become a bit of a treadmill for directors. You come in, nobody knows you, the actors are already doing what they're doing, and you're just one of a number of directors who comes in.

I believe that our world needs an instrument of global action as never before in history. I believe that the United Nations is the instrument for securing peace and for giving people everywhere, in poorer countries as in richer, a real stake in that peace by promoting development and encouraging cooperation. But the United Nations is only an instrument, an actor in need of props and cues from its directors, And so I will paraphrase Winston Churchill: Give us the tools-the trust, the authority and the means-and we will do the job.

I still think that movies are amazing; I respect actors and directors.

I am open to keep on discovering new interesting projects, and little by little I have been coming across very beautiful projects with very affectionate directors.

I've always been quite mature because of the way my parents brought me up. They were very good at talking to me like a person rather than a baby, and I was around so many actors and directors from such a young age because my dad is an actor. I was more comfortable with adults rather than actually being an adult child.

I think all directors should be animators.

There's no director or actor that I want to work with more than anyone else, other then maybe Johnny Depp, who I really would love to work with. I don't view any directors or actors above regular people, so I'm just happy to work with anyone, as long as they have talent.

I've never been difficult to anybody or with anybody on a picture. Especially when you're in that nice status of hierarchy of actors and actresses who get to approve directors. Because once you make that choice, it's my belief that the director's boss.

You have to remind casting directors out here that you don't just do one thing. There's a lot of people who do just one thing.

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.

Usually, those people don't even like actors and they can't wait until they get in the cutting room. They kind of break down in categories: directors who like to be surprised and some of them abhor being surprised. As far as directing, we all direct when we're acting in movies... every single one of us.

I've been very lucky to work with a lot of amazingly supportive directors.

[Akiro] Kurosawa, no doubt, was a big influence. Movies sometimes more than directors have influenced me: The Grapes of Wrath, by John Ford, was an extraordinary discovery. Sergei Eisenstein, of course. Later on, [Ingmar] Bergman.

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

People have asked me throughout the years which directors have influenced me. I don't know their names, because I was mostly influenced when I'd see a film and think, "Man, I want to be sure to never do anything like that." So I never learned their names. It wasn't a matter of copying or emulating somebody I admired. It was getting rid of a lot of stuff.

I get along great with directors, but I think some producers would tell you I'm a pain. They may say I'm tough to work with, but I have a great passion for what I do. I believe in fighting for it.

I get to play a great character while working with great actors and great directors on a great show.

All the jobs I've gotten in the last two years are because directors have seen the work I've done - indie films, plays, short student films, TV - since I moved to the states in 1996. I mean, I have an entire career in Canada that nobody has seen.

I wanted to just surround myself with people who I think are better than I am, whether they're actors or directors or producers, so that I could learn from them.

A lot of directors idealize their leading ladies or turn them into these objects of sexuality and beauty.

I think, a lot of times, directors assume that whatever they get from you the first time, whether it be at an audition or on set, is all that you can bring.

There are all kinds of directors I want to work with and all kinds of films that I want to do.

As an actress, I think it’s important to look back and realize that we aren’t always quite as original as we think we are. There’s this grand, textured history for us over the last 100 years of incredible writers, directors, and performers.

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.

I think women directors have to be really tenacious.

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

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.

It is great to work on different scripts with different directors who have different styles. You get so much experience from that.

I try to attach myself to people who really inspire me, and directors who are really passionate. That way, I can give myself more fully and trust the impulse behind why the film is being made, and I can be a little more irresponsible in finding out what the character is.

What people think improvisation is and non-improvisation is, it's nothing to do with what you like or dislike. It's all about how it happens with certain directors and certain scenes. That's the way it works. It's not something, in general, that you can decide.

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.

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

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.

Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.

I love working with women directors. They don't mind making you cute.

I have worked with some very great directors.

Those first memories of my modeling career are not my favorite. At the beginning, it was tough. I was very lucky, my career took off very quickly, but still. All the memories I have about first casting in general - they're not nice. Just because there's so many girls, so much competition. I don't blame those casting directors, they see so many girls and they can't be nice to everybody. But you don't feel like a person, you feel like a number.

Alejandro Amenabar is a different kind of director than I lot of the directors I've asked for. He really asks you to enter his dream as opposed to, you know, a guy like Sidney Lumet or something is going to ask you to create a character almost like a documentary. He wants you to make the people really real and he's going to capture it like a documentarian.

When people think of diversity, they think people of color, but it also means women, who are severely underrepresented as directors, writers and producers.

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.

I do believe female directors, as well as our female writer, can bring out male vulnerability that some men can't because they can't face it.

It helps, if you've directed, to be able to write a script that is director-friendly. You're really telling them [directors], "This is how it works on this show." It takes some of the guesswork out of it.