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.

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.

I really do think you lose the audition on the first ten seconds. I think you walk in, the casting directors and the producers and the directors have a real definite feeling of what they're going for, and if you don't look like it, it's pretty much done. Your acting is basically a bonus.

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.

I think the best directors rarely loose their temper. I think the best directors provide you with a safe environment where they can instill you with confidence and allow you to try things out and not feel like your failing or that you're doing it wrong.

I feel like I've been very lucky with the directors. The characters I've been offered, especially lately, have given me the opportunity to play all of these different women. I always wanted that, and it's something that you cannot do by yourself. If you want to play a diversity of characters, somebody else has to have the imagination to give you a role completely out of the box. We depend on somebody else's trust, and these directors are giving me their trust, and I am grateful for that.

I'm only wanted by directors for the image I give off, and it makes me angry. I always wanted to be an actor and not a beauty pageant winner.

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.

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.

Actors, producers and directors have a responsibility. My personal pledge, since I became a mother 12 years ago, is that I won't be in any project my daughter can't watch. I'm trying to prepare her for the world.

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.

Bad directors will tell you they absolutely know how to do it, and how it has to happen; there's this insecurity that leads them to feeling like they have to control everything.

I had a sort of bad experiences as a playwright early on, when directors were putting in huge concepts that I didn't intend, or they were stylizing something that was compromising the play, so I started to think like, "well if I'm going to fight against this, I should learn how to direct".

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.

Directors never direct me. They just let me loose.

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.

My advice for other female directors is look for people who really appreciate your vision and are willing to genuinely support you. When it comes time to taking notes on various cuts, if you have a smart producer, listen to her notes!

I've been really lucky to work with some really great film people in the past, but television works on a much quicker schedule, and it's the TV directors I've worked with that I looked to and became a big fan of.

In France, I am so free. I have more freedom than most American directors could dare to even imagine.

Getting back in the directors chair - there's a sense of like doing something every year. It's not like riding a bike, you're always learning new things, you're gonna face new challenges and when you face new challenges you'll have an answer for them.

If the United States is to produce a nation of investors-as we must if we are to gain financial world-leadership-it is imperative that boards of directors be so constituted as to adequately represent the interests and inspire the complete confidence of investors of moderate substance.

I was lucky that I was getting exposed to a lot of different kinds of films, and I was liking them all. So it seemed logical to me that you could - as in the style of the studio directors of the 30s and 40s - jump from one genre to the next, with the same satisfaction.

It's not that I don't want to, it's just that there's no money in it. By that I mean the way the video business works now, the artist and the record label send out a song to a bunch of different directors and say, 'What would you do with this?' Then everyone has to come up with an idea and bid on it. For me, it's like, 'Hey, you want me to do it? Then pay me. I'm not auditioning for you.'

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

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

Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.

I have worked with some very great directors.

It's just unfair that talent of color aren't given the same opportunities as white and male actors, directors, producers, writers, et cetera.

At a football club, there's a holy trinity - the players, the manager and the supporters. Directors don't come into it. They are only there to sign the checks.

I believe you can never stop growing and learning and I've been very fortunate to have been working since I was 10 or 11-years-old. I have learned so much throughout the years working with amazing directors and great actors as well. This was really a huge step for me because it's very different from anything that I've done before but I think the biggest difference here is that the cast we were surrounded by in this movie was unbelievable.

You wouldn't believe how many FDA officials or relatives or acquaintances of FDA officials come to see me as patients in Hanover. You wouldn't believe this, or directors of the AMA, or ACA, or the presidents of orthodox cancer institutes. That's the fact

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.

Directors are always changing things at the last minute. Actors will do a scene, and the director will say, ‘Okay, that was perfect, but this time, Bob, instead of saying “What’s for dinner?” you say, “Wait a minute! Benzene is actually a hydrocarbon!” And say it with a Norwegian accent. Also, we think maybe your character should have no arms.

Ambiguity in directors is a hard thing to deal with.

I always wanted to create a site that was sports and pop culture. 30 for 30 had a big impact because I loved how that was about finding, empowering and working with these incredible directors, and I thought the same thing could work for writers.

Directors say that you should get actors before they are recognized. They will be a pain in the...or have an opinion.

It's strange - some directors are really talented but they can be so precious when it comes to letting you be a part of it.

The studios insisted that only stars could make movies successful. And that was the real disappointment of the time. You'd see great writer-directors in the '90s becoming part of a system where financiers and movie stars could change the material. I came along just before all that happened.

One reason I left local news was that I was tired of the constant musical chairs among news directors.

For 'Vicky Cristina Barcelona,' for example, Woody Allen is one of the greatest American directors, and we really had a very good working relationship. We understand each other really well. He gave me one of the best opportunities somebody has ever given me in my career.

We're long past having to defend or explain why women should be on boards, given all the data that shows how companies with female as well as male directors perform better. It's unfortunate when companies with a large percentage of women constituents don't reflect that in their boardrooms.

Blockbusters run the mainstream industry. We may never again have a decade like the 1970s, when directors were able to find such freedom.

Our industry is so technologically driven that often I Skype with directors or send tapes in to people. It's so common now that sometimes even when I'm here I'll be send tapes for things that are based in the U.K. There's never really a right place, right time anymore. Even something that's L.A. based, the director might be in New York or they might be on location in Budapest. I think everyone's really accepting of the fact that people are all over the world all the time. In a funny way, you can be an actor now and live anywhere, so long as you have internet.

Hollywood needs more women directors, and Mama Ava needs a carafe and a half of that sweet vino divino.

I feel like a lot of the young actors that are just coming up are really good. I think directors are directing better.

The directors did an amazing job and Josh Holloway is just he's just shining. I think that, of the people I started working with, he's one of the people I'm most impressed with. How he's grown and learned and he's been just stunning everyone with his performances.

Some directors don't tell you that it's not your fault, so you get increasingly depressed that you're not delivering what's required, and then you discover it's not you at all, it's something in the background that's out of focus.