Quotes About Directors

It's a lot to do with the Marvel ecosystem. It's different from the traditional studio system. Because it is, for how absurdly, incredibly successful they are, it is a family. It is a loving family. It is a group of people who only care about making things good. They don't choose directors who don't want to work with them in the way that they work. And the directors that they choose are better for having done it. Every director who comes out of that system are one kind when they come in, another when they come out. And they usually come back for more. They usually make more than one.

I will say that is a quality I love about great directors, which is the ability to give you one word that can inspire you. I appreciate a director with a very good vocabulary. There are so many directors that I have worked with that can give you one word.

We all like indie directors - heck, I even married one... but we're divorced now.

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.

You're not directing an actor toward a thing they can't achieve. Because direction is elusive. When directors hold respect for the various craftsmen and -women who are telling the story, it's the greatest result. I think people do their bravest work when given an elusive canvas.

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 like meeting directors. It can be helpful because sometimes when you meet filmmakers you find out if you like them and if they like you, and that is important in terms of considering a role. Choosing a role is all about whether I relate to the role and the story really. That's the criteria.

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

One thing is certain: the humility of faith, if it is followed by the proper consequences-by the acceptance of the work and sacrifice demanded by our providential task-will do far more to launch us into the full current of historical reality than the pompous rationalizations of politicians who think they are somehow the directors and manipulators of history.

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.

Julie Taymor. She is my gold standard of stage directors. I think she has a comprehensive knowledge of theatrical form, since she lived in Indonesia, Java, Japan and France. Her knowledge of form is limitless. Whenever I get painted in a corner, I think about what form she would use, because that is what she practices. It's about accessing the theater traditions of the whole world.

There are the obstacles of your position as an actor, not being a commodity enough to be hired by the big directors for projects that have some kind of integrity, because the successful actors who've been in the game for a while want those roles. So there's more competition, so you have to work harder and be right for it.

I had been doing summer stock every summer while I was in college. We did a showcase, like most good conservatories do - monologues and things that agents and casting directors come to see. From that I got an agent.

The work is the work. The work is not me. I like the anonymity that directors can have about their films. Even though it's my voice, I'm a storyteller.

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

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

With the most interesting directors, the cast comes together to make something magical that nobody counted on.

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

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.

As an actor, I have casting issues. I'm a minority. I don't have trouble making a living, but as far as being on the food chain of the pecking order of actors, I'm not at the top of it. With the jobs that I do, there are always control issues with directors and producers.

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.

Women are making strides in many areas and women have mentored and supported me along the way. I think that women are underrepresented behind the camera as directors.

Directors typically have three choices - you do a studio movie and get a paycheck up front, you do an independent movie, which is for your heart and you don't get paid up front and probably don't make any money on it, but it hopefully goes to Sundance and is more of an art movie, and then you do TV.

As I continue through my acting career I tend to wish I were a little shorter and a few pounds lighter so casting directors would call me in for more diverse roles.

Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.

The beautiful thing about it is that no two directors or actors work the same way. You also learn not to be afraid of discussion and conflict.

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.

I don't come to work as an actor. There are many directors who can direct without ever having acted and do a great job and connect with their actors and lead them to excellent performances without themselves having had an acting background.

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.

I was fortunate enough to work under directors who were, most of them, brilliant, emotional men.

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

In the acting game, you spend a long time fighting against what the director perceives you to be. And half the time the directors don't know.

I came across awful characters when I got some kind of status and came to Hollywood. Then you have directors trying to sleep with you, assuming that you will do things because of the way you dress.

I don't think about the gender thing very much. But when I speak at schools, I've had female students say to me afterwards, "I never envisioned myself being a director, since I've never seen women do it." But after seeing me, they can picture themselves directing, so maybe we'll see more female directors.

I guarantee you that two directors that are any good can take the same story, change the name of the characters, change the name of the town, and make an entirely different picture.

There's not a lot of talking between actors - either between actors or between actors and directors. People think that they sit in rooms and talk about psychology and motivations. I don't think that happens much.

I've run into some S.O.B. directors, but I gave them back as good as I got.

There are many, many different kinds of movies and directors and styles. I don't mind that a movie looks like a movie.

A political convention is after all not a meeting of a corporation's board of directors; it is a fiesta, a carnival, a pig-rooting, horse-snorting, band-playing, voice-screaming medieval get-together of greed, practical lust, compromised idealism, career-advancement, meeting, feud, vendetta, conciliation, of rabble-rousers, fist fights (as it used to be), embraces, drunks (again as it used to be) and collective rivers of animal sweat.

People have curiosity, they have intelligence, they have interest in understanding their peers. But producers and directors of cinema have decided that the seats in the theaters have been made to transform people's minds to lazy minds.

I hate movies that take a long time to shoot or directors that labor over every shot or do excessive amounts of coverage and excessive takes and don't keep things moving or constantly cutting.

Directors who have inspired me include Billy Wilder, Federico Fellini, lngmar Bergman, John Ford, Orson Welles, Werner Herzog, Stanley Kubrick, Alfred Hitchcock, Francis Ford Coppola and Ernst Lubitsch. In art school, I studied painters like Edward Hopper, who used urban motifs, Franz Kafka is my favorite novelist. My approach to film stems from my art background, as I go beyond the story to the sub-conscious mood created by sound and images.

Our industry is so technologically driven that often I Skype with directors or send tapes in to people. It's so common now that sometimes even when I'm here I'll be send tapes for things that are based in the U.K. There's never really a right place, right time anymore. Even something that's L.A. based, the director might be in New York or they might be on location in Budapest. I think everyone's really accepting of the fact that people are all over the world all the time. In a funny way, you can be an actor now and live anywhere, so long as you have internet.

The directors did an amazing job and Josh Holloway is just he's just shining. I think that, of the people I started working with, he's one of the people I'm most impressed with. How he's grown and learned and he's been just stunning everyone with his performances.

I'm very old-school. I like a director to direct me. I like to be the actor. I'm not particularly fond of the hybrid writer-director, or actor-director. Writers, directors, actors are all such very different people. I think it's unusual that two of those people are in one human.

I know I don't go looking for directors.

People think women directors are tough. Truth is, I'm a pussycat and I hate conflict. I just want everyone to be happy on set.