Quotes About Directors

Any filmmaker, big directors, and I'm not dropping any names - I actually have couple names I want to say, but I will not - we have a ratio. Each thing you repeat, my ratio is one to four.Actually some people are ratio one to 34. I know couple directors, big directors, they are just shooting over and over.

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.

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'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.

Some directors can tell stories and it becomes very intimate and small, and it's almost like a secret. Some directors have the gift of finding a way to show it and tell the story, in a way that brings in the audience.

Great directors turn in mediocre work and first-time directors turn in exceptional work. No matter how good a person can talk about what he wants, you never know.

I think film is a world of directors. Theater is a world of actors. Or, theater is for actors as cinema is for directors. I started in theater. Filming is as complete as directing film. In theater, you are there, you have a character, you have a play, you have a light, you have a set, you have an audience, and you're in control, and every night is different depending on you and the relationship with the other actors. It's as simple as that. So, you are given all the tools.

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.

The thing I love about working with first-time directors is that it's always quite shocking how little difference there is between them and directors who've been directing all their lives.

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 can't imagine any director directing a screenplay of mine, because the great directors all have very personal styles, and the ones that don't are not very interesting directors.

You start out with big dreams and I mean, big dreams artistically. You want to work with the greatest living directors, make a great movie. I wanted to make a great love story, I wanted to make a great epic and then you realize that the truth of it is that it's so hard to make a great film. It's hard to get a great role. Those big expectations change to realism pretty quickly. But what's never changed is my desire to work with great directors and to find projects that push me out of my comfort zone and keep me alive. I still don't think I've done my best work

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.

As you're growing up, it's odd, because directors don't expect you to grow up. They think you'll be young forever, but as an actor, there is an awkward period when you're too young for old or too old for young, and it can be an odd time.

Russian directors, we are shooting the same streets. The same things. Tom Jacobson has a fresh eye and found very interesting and very cool locations and angles and characters.

We discard the personal specifics which don't conform to the ideal conventional beauty created by art directors and cinematographers.

I think that Hollywood should also be influenced by directors from Hong Kong. You see how Quentin Tarantino is really the example of how you can develop, and how you can go ahead if you accept the existence of different cinematic cultures. There you have Quentin playing with kung-fu. That's why the independents are the most interesting.

I've never directed anything before 'Mad Men,' so I don't feel I have any advice for the other directors.

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 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.

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.

TV and film are very different media with different requirements. In a TV show, you have actors and fellow writers and directors, who are interpreting your work. With a novel, you only have ink, words and your reader.

I've got a lot of wonderfully talented, creative directors I've worked with in Texas, but the market we're in, they kind of have to write to that. I think we've done some cool, simple spots. I was very comfortable in Texas, and getting ready to push out into national stuff, try to get to that national-type creative, and then I got sidetracked with this stuff.

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.

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.

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.

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've figured out what to do so far, but it's always the next thing you come to where the man with the bucket of ice cold water is waiting - whoosh! in your face. That's why you work with directors who know what to tell you to do.

I enjoy collaborating with all of the directors I have worked with. I love collaborating with creative people on interesting projects.

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.

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

Movies always fascinated me. They are an endless source of inspiration. There are countless images by great directors that made a profound impression on me, and I see film as a sublime example of teamwork.

I can count on one hand the directors who actually directed me.

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.

Now Tarantino is making DJANGO UNCHAINED. Everybody is telling me I am in the movie but I've not been asked by Tarantino officially. Not yet. There were many, many other Django films following mine, with other actors and directors, but there is only one Django.

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.

It's not that I don't want to, it's just that there's no money in it. By that I mean the way the video business works now, the artist and the record label send out a song to a bunch of different directors and say, 'What would you do with this?' Then everyone has to come up with an idea and bid on it. For me, it's like, 'Hey, you want me to do it? Then pay me. I'm not auditioning for you.'

In some cases, the casting directors have casted blindly and have not looked into my ethnic background

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's impossible to put your finger on what that is exactly other than protecting the environment that the actors get to find the scenes and build the scenes and invest in them. I think that's key and that's what I've learned from all the great directors I've worked with.

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

I had people in 'Entertainment Weekly' talking about how they wanted to throttle me because they thought I was too disgustingly cute, as if that were my fault, you know, as if that was my fault, not the fault of directors and producers and such.

There's no such thing as "an auteurist filmmaker." Every film directors is an auteur. We only make films that we do because we cannot put on clothes that don't fit us.

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

I mean, there are many other directors who are probably both more skilled and excited to adapt novels or work within certain genre conventions. I'd like to do that kind of work someday, but for better or worse I'm too drawn by my own material.

If mutual fund directors are independent, then I'm the lead character in the Bolshoi Ballet.

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