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.

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.

Acting is always more fun for me.I love being a part of a story, I love collaborating, I love working with different directors. If I just directed more and more, it would lessen the opportunity to work with all these big directors that I've had the opportunity to work with.

The director's who want to be innovative use the DVD as a tool to see what people have done in the past and you have other people who will actually take from better directors and that makes them better directors.

Bollywood directors are like cricketers where in one match you score a century, and in the next match, you are out for a duck! Moreover, very few directors are consistent in Bollywood.

It's hard for new directors to find good tracks because we don't usually get to choose good music by good artists. I honestly think music videos will slowly die out. There will always be a few directors who do cool things. But look how many great videos there were in the '90s, and then look at the 2000s. It's depressing.

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

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.

There are directors, and I think this is true of all directors, it would be true if I was a director - If the actor didn't want to do what I was suggesting, I would let him do it his way, and then I would say to him, "Just give me one where you do what the director wants", and that, of course, is the take that's used.

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.

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.

If Martin Scorsese calls, I am available. And then there the ones, well, you can just run down the list - any of those Oscar-nominated films, they have amazing directors across the board.

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

There's a bunch of directors that I really admire, and Australian ones as well. It would be nice to do a film at home.

Saying directors don't write because they don't type is very wrong, it's like saying Dylan doesn't write music because he doesn't write notation.

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.

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.

I'm an actor because I love movies, and always have loved movies. I'm a film buff. So, getting to work with those kinds of directors and getting to tell those stories is what I want to do.

Id love to see more women working as directors and producers.

The more that I can work in different mediums, the more I can grow, and learn from different actors and different types of actors and directors and different styles of acting and build a tool box.

I think women directors have to be really tenacious.

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

Nollywood is a genre, and not the entire Nigerian film industry. However none of the 'New wave' of directors in Nigeria would know what was possible without the Nollywood model, so I'm grateful to them for showing us that our stories are of interest to people other than Nigerians. I would describe myself as a filmmaker, period.

I worked for John Ford, Howard Hawks, Henry Hathaway, Raoul Walsh - I worked for some real good directors.

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.

I just want to do everything. As broad as that seems, it's kind of the plan. There are so many different genres out there to do, so many different characters to play, so many different amazing actors and directors to work with. I'm just following my gut, and if it's speaking to me, then I'm doing it.

I love directors who talk action as opposed to emotion.

What I want to do is create great content on television and movies. It is not my role to program only for Latinos, and you can't really assume that Hispanics only want Hispanic content. But I do think that we are severely underrepresented in television and film. And instead of complaining about not seeing ourselves, we should become film producers, directors, and writers, and tell our story.

I've had the opportunity to work with so many great directors. Different styles, as well, like Gus Van Sant. He just does the casting and the milieu and let's you do your thing, quietly. Bertolucci, who can talk to you about your internal world in quite a creative way or just say, 'Well, put your hand over here.'

I've worked with a lot great directors who have huge resumes, but I'm really trying to be active in my career in supporting the new generation of cinema. I like taking some time to try to support and be a part of that.

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.

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.

I trust work, directors - I don't live in fear. All good experiences have come from trusting the universe. There is no other way to live or love. Otherwise, you create your own prison.

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.

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

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

I think it's very important to recognize talent in all facets of filmmaking. Making a movie is such a lengthy and intense experience, so it's wonderful to honour actors, directors, producers and all crew members who put so much hard work and passion into a project.

I'm intrigued more and more by complex female characters because I'm more in touch with myself. I realize how screwed up or complex I am. And I'm flattered that, little by little, more and more directors want to meet me.

Some directors hardly talk to the actors at all.

There was an interesting article in Los Angeles Magazine about women directors. A woman director makes one bad independent film and her career is over. Guys tend to get an opportunity to learn from their mistakes.

What I try to do is make sure that the directors I'm working with are on the same page and want to do the same kind of films. You can really protect yourself as an actor if you work with really good people. It can hide a lot of flaws along the way.

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

Growing up and applying to college, I just imagined that I would study acting. But then, once I went to college, I realized I was more interested in all the aspects of filmmaking as opposed to all the aspects of theater, which is what you would have to do if you studied acting at a liberal arts school. And so I thought, "Oh, I'll meet directors and filmmakers, and I'm an actress, so I'll become friends with them and hopefully be in their movies." And then It worked!

I'm thinking about directing, but I know it's a lot of work and I appreciate what directors do and I would like to be good at it. The opportunity has presented itself four to five times, and I usually said no because of the script.

The idea that all violence in movies is okay simply because it happens is bull. Directors and writers have a responsibility.

One reason I left local news was that I was tired of the constant musical chairs among news directors.

I prefer to work with first-time directors.