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."

People are mystified by it and so they kind of think, the acting community thinks they're gonna be replaced by CG characters and animators think they're gonna be replaced by performance capture (and) a lot of directors, particularly European directors, who have no experience of it.

I really love it, I love working with directors that are very collaborative and allow me input. I've done over 75 films, it's just like you're an apprentice. You learn so much about camerawork, lenses, and I'm always talking about DPs and directors and they always give me lists. I think pretty soon, I'll be ready to move away from being in front of the camera.

I've always thought that as long as directors and casting directors don't see me as just Harry Potter, I'll be OK. People have shown a lot of faith in me, and I owe them a huge debt. They're letting me prove that I'm serious about this.

Roles came to me. I was very, very lucky in that respect. Great directors, great writers, great producers - they saw something in me that they wanted for their picture or their play or whatever it was, whether it was Edward Albee or whether it was - or Peter Hall, directors. They would come to me, thank God. I was lucky. Lucky, lucky, lucky.

I've worked with acting coaches, I've been going out on auditions and meeting with casting directors. But I'm not known as an actress.

I like meeting directors. It can be helpful because sometimes when you meet filmmakers you find out if you like them and if they like you, and that is important in terms of considering a role. Choosing a role is all about whether I relate to the role and the story really. That's the criteria.

I am open to keep on discovering new interesting projects, and little by little I have been coming across very beautiful projects with very affectionate directors.

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 think directing yourself is a monumental task. Just to self edit as an actor, you work for some directors who don't give you a lot of feedback so you have to do that. That's a difficult thing to do as an actor.

I know that Madonna is not a first-time filmmaker, but I have worked with a lot of first time filmmakers and I have worked with a lot of inexperienced film directors so that never has particularly worried me - I find it quite exciting - but I have never worked with a director who has had so little experience of directing who was so prepared.

I love working with new directors. There's so much drive and effort. It still comes down to the character for me, but if it's a character I really want to play, I would never not do the project because of a new director.

I was working with actors who were very easy to work with, but I can just imagine how, with all the other decision-making problems that come up along the way, in addition to that, the whole point of what your doing is following performance and character development. You're building your story with those building blocks, and it is not easy. I've only come out with more respect for directors, from this.

Directors and producers were afraid of a Dumont actor while at the same time they admired him.

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 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've been very lucky to work with a lot of amazingly supportive directors.

I've definitely gotten to work with female directors, and I feel lucky because of that. I just feel like more voices should be represented.

Now at my age I understand how sad it must have been for some directors or actors at the time the talkies began. Because, really, a whole continent disappeared.

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

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

Maybe I'm too masculine. Casting directors cast in their own, or an idealized image. Maybe I don't look like anybody's ideal.

I love acting. I can't imagine anything else that I would do. I know a lot of actors that really want to be directors and be musicians and all that stuff. I like acting and I feel like I'm good at it. It kinda makes me happy. It's actually pretty easy to me and I can't imagine doing anything else at this point because I've been doing it for so long.

When I think about directing a film, the thing that stops me short is wondering if I'm a natural at it the way I think you, and PTA, and Fincher are born directors. Maybe some people's talent is in understanding the ways that film communicates, without dialogue, without plot.

In the best of all possible worlds, directors would obsess about the quality of their storytelling, and not the details of their technical methods.

Maybe I have just a younger voice than many other directors.

I always have directors who are somewhat frustrated because they'll reference a beautifully obscure film from the '50s or '60s or '70s, and I've not seen it.

It is great to work on different scripts with different directors who have different styles. You get so much experience from that.

Learn how to draw. It's the basis of what we [animation directors] do. Keep a sketchbook. Try making a very simple little film. Try and tell a story clearly and entertainingly. Study the way people move and animate move. Observe all you can, and try and capture that simply in a few lines on paper.

[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 try to attach myself to people who really inspire me, and directors who are really passionate. That way, I can give myself more fully and trust the impulse behind why the film is being made, and I can be a little more irresponsible in finding out what the character is.

There's a paraphrase about Orson Welles saying: "Great films are made by great directors and the rest are made by everyone else." I've been very lucky... before I start insulting the profession of directing, but I think a good director is everything and a bad director really is nothing at all.

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

Movies always fascinated me. They are an endless source of inspiration. There are countless images by great directors that made a profound impression on me, and I see film as a sublime example of teamwork.

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.

Because I've always aspired to direct and produce, I've literally worked with about 200 directors and countless producers, so what I appreciate is how, through osmosis and through actually asking questions and through people offering wisdom, there's a lot in there.

As I continue through my acting career I tend to wish I were a little shorter and a few pounds lighter so casting directors would call me in for more diverse roles.

Now Tarantino is making DJANGO UNCHAINED. Everybody is telling me I am in the movie but I've not been asked by Tarantino officially. Not yet. There were many, many other Django films following mine, with other actors and directors, but there is only one Django.

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'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.

When I look around and see how aged cartoonists continue to work on their manga and how movie directors create new movies all the time, I understand that they would never retire. And by the same token, I guess I will still be making games somehow. The only question is whether the younger people will be willing to work with me at that far point in the future.

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

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.

It's hard not to be enthusiastic when you like what you're doing and I love what I do. I love writing stories, I love coming up with ideas for new projects and I love the people I work with, because I work with great writers and artists and directors and actors.

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.

To deny women directors, as I suspect is happening in the States, is to deny the feminine vision.

I love westerns. John Ford is one of the 10 best directors.