Quotes About Directors

I'm trying to work only with established, respected directors. I took a lot of bad scripts and worked for a lot of lazy directors, and it was discouraging to go to the screenings and see that the director had added nothing, the editor had added nothing, there was nothing to see.

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.

I don't see myself as one type of actor. When you get one role, you start to get cast in that role for awhile because that's what people have seen you do, and have hopefully seen you do it successfully. And so, it becomes an easier thing to see you as, for casting directors and directors, and they start to think of you as that particular person or type of character. But, for me, I'm just an actor, first and foremost. The actors I respect are the real character actors, who are the real chameleon actors that completely change from role to role.

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.

With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.

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 think the best directors rarely loose their temper. I think the best directors provide you with a safe environment where they can instill you with confidence and allow you to try things out and not feel like your failing or that you're doing it wrong.

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've turned down good directors before because I knew the part didn't speak to me and I've worked with less talented directors before because the part I had such passion for.

Some directors are very free and some directors are very specific. It seemed like doing a play.

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.

A great director, first, is highly intelligent. And he is also a dedicated and willing to work hard. Now those are easy things to identify. The third is the creativity, and that is very difficult to identify in advance. This is why so many of the directors who have started with me were my assistant - the first one was Francis Ford Coppola.

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.

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.

Over the long haul I'd say that most directors I've worked with have been pretty sensitive to the quality of the interpreted scenes.

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.

There are plenty of bad actors and there are plenty of bad directors. There are actors who will always be bad and there are good actors who you cry for because they're being badly directed or the material isn't good enough.

I've certainly worked with really great directors who haven't acted.

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

I guess I'm not jaded because I still believe that there are good films out there, and there are great directors, and there are great writers. It just takes a little bit more perseverance and a little bit more time to find [them].

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.

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

You don't pick black actors or black directors because they are black. You pick them because they are good. If you lend somebody 50 million dollars you want you're money back. You don't care if they are oppressed. You just want you're money back.

Cable TV has become where the best actors, writers and directors have gone to work because they are allowed to do character-driven stories.

Most actors go, I read the script and fell in love with it; I fall in love with the directors.

I think part of the fun of being an actor is getting to work with different directors and seeing their take on it, what they're passionate about. They all have different ideas about your character.

There are certain directors where you know you're going to be good or you're not going to be there. There are people where you kind of know that if you miss the mark then it'll probably not be in the movie and that's very reassuring.

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.

It's always fun to get to do independent film because I believe that that's the life blood of film. It's about writers and directors who truly have their own vision, and that's hard.

When I think about directing a film, the thing that stops me short is wondering if I'm a natural at it the way I think you, and PTA, and Fincher are born directors. Maybe some people's talent is in understanding the ways that film communicates, without dialogue, without plot.

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

Learn how to draw. It's the basis of what we [animation directors] do. Keep a sketchbook. Try making a very simple little film. Try and tell a story clearly and entertainingly. Study the way people move and animate move. Observe all you can, and try and capture that simply in a few lines on paper.

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.

In France, I am so free. I have more freedom than most American directors could dare to even imagine.

I'd never really done comedy before Community, so getting to work day in and day out with all these great people, directors, writers, and actors, I feel like I've learned a lot.

Getting back in the directors chair - there's a sense of like doing something every year. It's not like riding a bike, you're always learning new things, you're gonna face new challenges and when you face new challenges you'll have an answer for them.

The radical rightwing pegs Hollywood as a leftist town, which is completely wrong. There are a lot of actors, writers, and directors who talk a liberal agenda... but all the studio bosses, for as long as there have been studios, have all been as far rightwing as you can possibly imagine.

To televisionize any serious problem, the program directors face the task of making the message 'go down smooth' until the audience is delivered to the commercial.

Boards of directors are allowed to work together, so are banks and investors and corporations in alliances with one another and with powerful states. That’s just fine. It’s just the poor who aren’t supposed to cooperate.

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.

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.

We, as women, often believe that we have to endear ourselves by acting modestly. But that leads personnel directors to think: Anyone who gives themselves away so cheaply cannot be very good. On that point, women need to get much, much more self-confident and tough.

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

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.

Even though I've mostly done movies, TV has developed in such a wonderful way over the past few years in the sense that film directors are being involved and some fantastic actors are committing to seasons of series. There are some fantastic writers working in that medium right now.

It's just unfair that talent of color aren't given the same opportunities as white and male actors, directors, producers, writers, et cetera.

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.