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.

My biggest advice for women writer/directors is to always be attempting to make work that avoids pandering to the conceptions that the industry has put in place for "women directors."

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.

Hmm, can I be obvious and say there is probably a double standard for male vs. female directors? Sadly, I think that's actually the case. And it probably stems from the fact that there are proportionately so many fewer women directors than men ones that each project is perhaps more closely scrutinized for its content.

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.

The key is working with great directors. A film is so many different people and all their talents, but particularly the directors, because of the idiosyncrasies of that person.

When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like youre in the way.

There are a lot of female directors in Lebanon but we can't really talk about a true film industry, it's still very small. But we do have a few female directors.

There have been directors that I did not enjoy working with, but for the most part I realize that I have been unbelievably spoiled in my career because I have worked with some of the greatest, greatest directors ever.

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

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.

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.

Personally, I can't stand violence. In any standard American mainstream movie, there's 20 times more violence than in any one of my films, so I don't know why those directors aren't asked why they're such specialists for violence.

Sometimes the directors were afraid of what they brought out of me.

There are directors who desire to be artistic. It is pathetic to compare the seriousness of their aim with the absurdity of their attainment.

I've always been quite mature because of the way my parents brought me up. They were very good at talking to me like a person rather than a baby, and I was around so many actors and directors from such a young age because my dad is an actor. I was more comfortable with adults rather than actually being an adult child.

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.

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.

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

My teachers believe that the creative producer's job is to service the vision of the director, to stay within schedule and budget, and to get the studio what they need, but you work for the director to get their vision on the screen. That's not how everyone approaches producing, but it is certainly how directors like you to approach producing. How I was brought up is that my job is to help you make the movie you want to make.

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.

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.

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.

Every director is different. One of the great things about getting to work with so many directors in one TV series is collaborating with different artistic visions and voices. And they all have something to offer and making the story better and bringing their vision to what you see in the frame.

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

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.

In my own experience of male and female directors, people have a much, much harder time taking a direct command from a woman. It's somehow very difficult for people.

Human nature is not amenable to prediction based on the trends or tendencies prevailing at the time. It is amenable to startling creativity of the kind practiced by great artists, directors, writers, musicians, actors, who know how to touch a chord in humans everywhere.

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 that for a lot of actors - especially American actors - to get line readings and to be told and have your director literally act out the part for you is sort of discouraging in a way. It's a very Eastern European thing to do - a lot of directors that I worked with in Russia did that as well. And, I never took that as an insult, as many actors tend to do. To me, I think it's just offering a certain energy - offering their flavor - and, instead of trying to sort of decode and communicate it to you, they just show you their flavor of what it should be.

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.

Having been a child actor, I remember how directors would trick me to get good performances out of me. I don't think you need to do that.

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

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

Sometimes I go to the cinema and I see a movie where the directors or the filmmakers are telling me what to think, what to feel. They are giving me all the answers, and I'm like, "What am I doing here?" I try to have an active audience that are thinking and feeling for themselves.

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.

One of the things about Derek Jarman was that he was a painter who worked alone when he painted, but I firmly believe that one of the reasons he made films was for the company. He made filmmakers of all of us, that's the truth. I don't mean he necessarily made directors, but he made us filmmakers. Because we lived in a state of mutual responsibility for what we made.

I do believe female directors, as well as our female writer, can bring out male vulnerability that some men can't because they can't face it.

The directors are always sharp. It's true.

If you work in casting, it's sort of not cool to want to act. A lot of people think that casting directors are frustrated actors, but it wasn't true with any of the casting people I knew.

At times as an actor, it's often times unclear as to what the directors envision for a project.

I'm not one of these directors, so far, that wants to have a whole separate director's cut of these things. So far they've turned out to be kind of the length that they wanted to be.

If a good actor wants a role, they'll do whatever it takes to get the part. Directors are the same. We do 'meetings', not auditions: that tells you a whole lot more about an actor, too.

I think television has become such an interesting place for characters and for incredible storytelling. Half of what I watch are television shows that I've become obsessed with. I just think that it's opened up so much, to be such an interesting and creative medium, and so many wonderful directors and actors are moving to television because it is a great medium for telling stories and for creating a character over a long period of time.

Television in America is so elaborate. There are so many remote cranes, and they have all the toys to play with. The directors are really good. They really work with you. So, I'm not really on set thinking, "Oh, my God, this is television. It's very different."