Quotes About Directors

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.

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.

Actually, I met a lot of directors and most of them have that fantasy to make a silent movie because for directors it's the purest way to tell a story. It's about creating images that tell a story and you don't need dialogue for that.

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.

We all like indie directors - heck, I even married one... but we're divorced now.

You're not directing an actor toward a thing they can't achieve. Because direction is elusive. When directors hold respect for the various craftsmen and -women who are telling the story, it's the greatest result. I think people do their bravest work when given an elusive canvas.

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 think one third of my work is with first-time directors because I think I should, you know? Really, the difference between a first-time director and a second- or third-time director - I mean there's no director who makes enough movies anyway - but if they're talented, they have it. And there is no movie that is perfect.

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.

The biggest mistake in student films is that they are usually cast so badly, with friends and people the directors know. Actually you can cover a lot of bad direction with good acting

It would be horrible to be micro-managed! I don't think directors can really micro-manage people. It's just impossible.

A lot of times passion projects or films are difficult to make because they don't have proven directors attached to them.

Some directors are like it's their... nothing can change, nothing can move. I like collaborating, even when an extra has an idea, I like to bring to really have collaboration.

One thing is certain: the humility of faith, if it is followed by the proper consequences-by the acceptance of the work and sacrifice demanded by our providential task-will do far more to launch us into the full current of historical reality than the pompous rationalizations of politicians who think they are somehow the directors and manipulators of history.

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

If it gets to the Supreme Court, I'll have the directors of every museum in the country as expert testimony that my work is legitimate art.

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.

I mean, I'm willing to do anything with Chris Chulack - he's one of my favorite directors I've ever worked with, and I just think he's a fantastic man, and a great creator, and a good friend.

Personally Im very happy to be behind the scenes. I like collaboration, I like working with directors.

There are the obstacles of your position as an actor, not being a commodity enough to be hired by the big directors for projects that have some kind of integrity, because the successful actors who've been in the game for a while want those roles. So there's more competition, so you have to work harder and be right for it.

I have always been a great fan of Peter Chan and many other great directors who specialize in anything outside of action.

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.

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.

My big break was becoming the spokesperson for Texas Instruments. Casting directors really started giving me a chance to read for projects.

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.

You're in a movie, so you have to think about how something plays. It's not like you're thinking about how an audience is going to react. You're trying to present the story. You're trying to illuminate the lives of these people in the story. So I'm thinking about how my behavior as this character best illuminates what's going on with them in this moment in time. I always say it's sort of the director's job. People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.

I think stupidity in business is really an interesting thing. What winds up happening is a disconnect between your company's strategic management and then your more applied on-the-street management. I guarantee with you that the board of directors of most companies has no idea what the costs of hiring people really is in the HR department.

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.

[In relationships with a directors] I want to be able to give and take, and I can't name what it is: respect, energy, investment in the task, focus, humor, intelligence, but I always feel responsible for taking the money.

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.

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.

I have many valentines. My mom and my sister and my directors. I got calls from all of them. And my friends. I respect what Valentine's Day stands for because it is about love

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

There are a few directors around who I have some excitement about spending my $7 at the theatre watching their movies.

I'm not in a position where I get to pick and choose roles. I usually go on auditions in long lines and embarrass myself in front of casting directors, and with a lump in my throat and my ears burning, I walk past reception and smirking actors as I go to the parking garage and go back on the highway.

That excites me, working with really excellent people, be it wonderful directors or actors or cinematographers and especially writers. My work life is going to a set and having these great experiences and coming home shifted by them.

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.

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

Directing is the last frontier for women in the movie business. We are studio heads, we are producers and we are writers, but we are not directors in any numbers.

I love directors who talk action as opposed to emotion.

Of course, at their best, movies are anti-literature and, as a medium, belong not to writers, not to actors, but to directors.

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 gotta say, the Catholic Church has churned out a lot of great artists and directors and actors, so if that's all they do, that's fine by me. If they're good at churning out tortured artists, that's great!

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

Paris is the playwright's delight. New York is the home of directors. London, however, is the actor's city, the only one in the world. In London, actors are given their head.

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.