Quotes About Directors

I understand the formula that producers hire directors and directors are hired to direct and actors are hired to act. I don't have any conflict with any directors because I know they're the boss.

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.

It's turned into a world of amateurs. There are amateur actors making millions of dollars, amateur cinematographers, amateur directors... Jesus, these amateur directors can get deals for anything. Another comic book? Oh, very good.

I've now been doing this for ten years, and I actually got to skip a stage of going to casting directors, and now I meet with the directors, either for lunch or an audition room, and I still read sides; you're never going to get around that, but I'm not the best person to go on an audition.

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

But, working with directors whose history is in performance, I feel like there's a different kind of focus, as opposed to directors who are more prone to being really technically proficient or visual. I feel like there are two schools of both, and a director needs to have both.

I think directors should be confident in their leadership capabilities. I think directors should be confident in what they want to do.

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.

Television is certainly a writers-led medium. They're the ones who are there, they're the ones that are conferencing or whatever, with directors coming and going.

During 'Chicago Hope,' I never let directors talk to me, because I was so spoiled. I started off with people like Milos Forman, Sidney Lumet, James Lapine, unbelievably gifted people. So there I was saying, 'Don't talk to me, I don't want your opinion.' I behaved abominably.

I think the perspective that small-town directors bring to films is very different.

In any of the big acting cities, there are breakdowns that the casting directors put together for the projects that they're working on and then they get sent out to the agents and stuff like that. It's difficult to find projects, sometimes, unless your agent or manager is submitting you for those specific projects.

I think one third of my work is with first-time directors because I think I should, you know? Really, the difference between a first-time director and a second- or third-time director - I mean there's no director who makes enough movies anyway - but if they're talented, they have it. And there is no movie that is perfect.

Directors have to push me. I have to be pushed up. Not all the time, but often.

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 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.

I know that Madonna is not a first-time filmmaker, but I have worked with a lot of first time filmmakers and I have worked with a lot of inexperienced film directors so that never has particularly worried me - I find it quite exciting - but I have never worked with a director who has had so little experience of directing who was so prepared.

Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.

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

I mean, I'm willing to do anything with Chris Chulack - he's one of my favorite directors I've ever worked with, and I just think he's a fantastic man, and a great creator, and a good friend.

Pedro's Almodovar different - very unique, very particular and difficult to compare to anyone else. But I've been lucky with many of the people that I've worked with. I think I've been very lucky with great opportunities - directors like Stephen Frears, Cameron Crowe and Fernando Trueba, as well as Bigas Luna, who gave me my first opportunity. There are a lot of people I would love to work with again. But, of course, I have a special relationship with Pedro and I don't think it's good to hide that.

Bad directors will tell you they absolutely know how to do it, and how it has to happen; there's this insecurity that leads them to feeling like they have to control everything.

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

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.

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

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

Id be lying if I said Hollywood wasnt still an ambition; its everyones, isnt it? Youre getting paid very well, youre working with great actors and great directors - who wouldnt want to be a part of that? But its not going to break my heart if it doesnt happen. This business is about doing good work rather than how famous it makes you.

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.

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

L.A. can be pretty insane because there's so much show business here, but I also know a lot of kids who grew up in Manhattan who are some of the most normal, nicest people I know. Casting directors always say Chicago people are just nicer.

There are a few directors around who I have some excitement about spending my $7 at the theatre watching their movies.

I'm not in a position where I get to pick and choose roles. I usually go on auditions in long lines and embarrass myself in front of casting directors, and with a lump in my throat and my ears burning, I walk past reception and smirking actors as I go to the parking garage and go back on the highway.

There are lots of good directors I would like to work with; I want to be inspired and challenged by them.

I feel like some of the best talent is on TV right now, with the writing, acting and great directors.

One of the young production assistants (on 'Terminator: Salvation') stepped over to my chair and said, 'Mr. Ironside, are you any relation to the Ironside who was in 'Top Gun'?' And I said, 'I am, yes.' And she grinned and said, 'I knew it! Talent must run in your family!' And she walked away. And all of the producers and directors kind of looked at me uncertainly, and I said, 'What are you guys so uncomfortable for? That's an incredible compliment. I do look like the father of that guy, for Christ's sake!'

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.

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

When you first get out of doing a show for a long time where you played a teenager, casting directors and producers all still look at you as being the character that you played for so long.

I guess I always knew going into the movie that casting that part would be difficult. Oliver just felt likeable. I felt it would be hard to dislike this man. I don't know why, but I'm sure other directors have felt the same when casting him. Oliver is goofy yet formidable, smart but likeable... I didn't want the character of Alex to be nasty or demonised. I wanted him to be struggling with his actions.

I believe you can never stop growing and learning and I've been very fortunate to have been working since I was 10 or 11-years-old. I have learned so much throughout the years working with amazing directors and great actors as well. This was really a huge step for me because it's very different from anything that I've done before but I think the biggest difference here is that the cast we were surrounded by in this movie was unbelievable.

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.

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

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.

Back when I was looking for my next step and was researching Gannett, I was interested in who was leading the various businesses within the organization: Are there a lot of women and minorities in important, operational roles, senior management and the board of directors?

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.

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

The most nurturing of directors can make you feel too comfortable, and you don't really push for that extra whatever.

I always wanted to create a site that was sports and pop culture. 30 for 30 had a big impact because I loved how that was about finding, empowering and working with these incredible directors, and I thought the same thing could work for writers.