Quotes About Directors

It's entirely to do with personality, I think. There are good directors who talk a lot, bad directors who talk a lot, and good directors who don't say much and vice-versa. It just depends on whether people respond to that personality and whether people have a willingness to do something for them.

All directors are control freaks and very obsessive. I get the feeling that directors as kids, they all have had a childhood with not too much contact with other kids. They constructed their own reality and they continue to do it. It's a funny breed, 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.

A lot of new American directors have had mentors who have given them advice. And some of them have had the way paved for them by huge Hollywood directors who saw a younger version of themselves.

I subscribe to the great George G. Scott quote, "All actors are in trouble. Directors who don't help are a pain in the ass". We all need help from directors. We are all equally insecure.

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.

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.

Sometimes, when you work with directors who have done it a lot and are established in the business and know the game, there are all these rules that they have. First-time directors will allow you to come in with choices. They're not so jaded by actors that they're like, 'Ugh, just do your job, man.

Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.

I don't really consider myself a female director, and I don't want to do so for other women. Female directors are just directors.

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

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 love being involved in all of the creative stuff; I love talking ideas with directors. Anyone with an imagination can create something fun.

I love the work, I love being in front of the camera and working with actors and directors and creating something. For me, it's like learning everyday.

I never storyboard. I hate it. I don't understand why so many directors want to make comic strips of their films.

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.

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.

Sometimes I get insecure about being a real director because I look at the great directors, and they have such command. But maybe that keeps me critical of myself. Maybe it keeps me moving forward.

Directors have a tendency to use their hands like orchestra conductors. They don't realize that the actor is looking at their faces, anyway.

Usually directors hire me because I'm what they are looking for. But once in a while, and it's very rare, they will hire me and then try to make me over.

A script is utterly useless in and of itself; it's only of any worth the minute your actors, your designers, your directors come into being.

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.

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.

All directors should have to act and all actors should have to direct, so that they can understand all these key things that come into play with whether you can meet your day.

What people think improvisation is and non-improvisation is, it's nothing to do with what you like or dislike. It's all about how it happens with certain directors and certain scenes. That's the way it works. It's not something, in general, that you can decide.

After you do a showcase for agency managers and casting directors and you get this folder and some people had a folder that was thick and some people had a folder that was thin. And there's no fairness to it because it's not a fair business.

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.

The greatest directors are the greatest users. They use people's talents to tell the story that they want to tell.

Directors tend to be more underrated than overrated because it's a quiet job and people don't really understand it.

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.

Some directors involve waiting, and if you want to work with that particular director you're going to have to hang around.

When people think of diversity, they think people of color, but it also means women, who are severely underrepresented as directors, writers and producers.

I do feel, like everyone, there's not enough female directors out there, there's not enough female producers, and would like to see more people get more opportunity, more opportunity for roles for women.

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?

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.

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

Sometimes directors get hired into TV shows, and it's so formulaic and they're a slave to whatever everybody wants them to do. But everyone came in with their own style, and it blended together with the Helix style that was set, and at the same time, they're bringing their own ideas and their own input. It was really fun working with all of them.

I want make more records with my sister. I want to go on the road. I want to tour around the world. I want to continue to make great films and work with incredible directors that I respect and look up to.

The directors are always sharp. It's true.

...Directors of a large food-manufacturing firm (:)...At one extreme (: one) said it was not his job to protect people from themselves; he was not forcing people to eat his products, and if they chose to do so at the risk of harming themselves, it was of their own free choice.

In a collaborative environment directors hire actors because they want their input, not just their bodies.

I would love to meet some directors, and why not do some other movies in America? But, I'm not obsessed with this idea. I'm feeling very free in Europe.

I'd like to work with any actress from whom I can learn-one who has had many experiences with many directors and is willing to share some of her knowledge with me.

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.

There are two kinds of directors in the theater. Those who think they are God and those who are certain of it.

I think women have made progress in cinematography, contrary to women directors, who I think have regressed. There are many more women cinematographers than when I started.

There's a voice inside of me that I know people will relate to; I just haven't really had the opportunity to let it flourish. To sit there and explain to a guy what it's like to be a kick-ass woman is hard. I think there're only a handful of directors out there that get it.