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.

It's not that writing staffs don't change at all, but they don't change very much. Directors are freelancers. There are directors who do five or 10 episodes of a show every year for years, but most directors are freelance, they come and go.

I would say it was the directors. We have to give credit to the directors for this, because in the script, we just said, "Gru's Minions do this or do that" in the initial draft. And then, they came up with the characters' design and the philosophical concept of the Minions. And then, we started writing to that. We have to give a lot of credit to them.

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.

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.

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.

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.

You often hear this about directors, how its like having the best set of toys. This fabulous train set, the biggest box of toys that a kid could possibly have. The best directors look like a kid having more fun than youre supposed to have.

A lot of the best acting training I had was in junior high and high school. We had very demanding directors and did real plays. You put our plays up against any theater troupe of any age, and they usually did pretty damn well.

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.

If you don't take it personally, the partnership between producers and directors is very intimate.

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

Directors have to push me. I have to be pushed up. Not all the time, but often.

I've worked with a lot of directors, some of them you wouldn't really attach the word 'artist' to their name.

With Kubrick and most film directors, they are in complete control, but one can influence them.

We make a contract within ourselves as actors or directors or writers about how much of ourselves we let into projects. You can actually figure out before you work on something how much blood you will have to let emotionally.

I know a lot of directors have a whole staff of people trying to find their next film for them. I always just end up writing mine.

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.

All the jobs I've gotten in the last two years are because directors have seen the work I've done - indie films, plays, short student films, TV - since I moved to the states in 1996. I mean, I have an entire career in Canada that nobody has seen.

The weird thing is that, with actors, filmmakers and directors, it doesn't really matter if it's Robert Downey Jr., who's one of the biggest stars in the world, when you start to work, he's a hardworking actor. At the end of the day, it doesn't matter who's a big star and who's an unknown actor from wherever. It's all about the work you do.

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.

Of course I am a child of European culture. There are a number of great directors from which I learned, but there is nobody in particular I got inspired from.

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

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

My whole family is very artistic - my uncles are all actors and theatre directors.

I give everything to my work, and I like complex roles, characters that aren't obvious. I've been very lucky so far, and I'm dreaming of working with directors like Jane Campion, Susanne Bier and the Dardennes. But the gods will decide.

I just follow my nose, and instead of letting someone run my affairs and probably make me wealthy within a matter of years, I've just kept the board of directors down to zero. I make all the decisions, and they can't all be right, and my lifestyle is very expensive, so that means I have to work a lot. It's the opposite side of the coin from sinking back into the recliner and becoming somebody they bury.

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.

To suddenly be working with one of the top-10 directors in the world, plus the film was in China, I almost blurted out, "How much do I have to pay?" It was just like a dream come true. That was an amazing experience.

Boards of directors are allowed to work together, so are banks and investors and corporations in alliances with one another and with powerful states. That’s just fine. It’s just the poor who aren’t supposed to cooperate.

You have to have a thick enough skin to cope with the criticism. I'm very self-critical and I have a lot of friends that I trust who are film directors and writers and people in my profession.

I'm just happy when directors make a movie that is really sentimental but without being maudlin or saccharine or too much like Chewels gum. I don't want to be involved in a movie that's too much like a piece of Chewels.

At almost forty years old, I assumed my career on camera was over. And I was certainly given that message by all the TV managers and news directors who passed on me when I was trying to get a job back in the business.

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.

I admire directors so much, I find them incredible: they manage such a huge number of people of different characters, think of the money involved.

One of the great things about this cast is that we've been able to take actors of relatively the same age group that would never usually meet. You know, like bridging the comedy/drama world that for some reason casting directors never really want to bridge or you get into one community and that's kind of it.

I find it kind of weird that directors want to put themselves in their films.

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.

In my experience, the best directors I've worked with hired people for a purpose. They hire them with trust. There's not many notes. There's confidence and support.

I really enjoy the process of making movies. The only thing that really concerns me is working with great directors and actors, and that is fun and exciting.

I was never a villain on the stage. I always played strong, sympathetic types. My first stage role with a speaking part, believe it or not, was as a priest. It wasn't until I began acting in films that the producers and directors saw me primarily as a bizarre villain.

Control is the wrong word. The practice is very much about sharing, and, in any creative practice, some individuals, whether partners or directors, are much closer to certain projects than I could ever be.

I'm really, really happy with what I do for a living. I mean, that's what I consider work, like being on set, bringing a character to life and, you know, working with other actors and directors and stuff.

I miss working with great actors, working with great directors.

Bud [Yorkin] was the kindest and dearest man, and one of the most talented directors there was.

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