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.

It's turned into a world of amateurs. There are amateur actors making millions of dollars, amateur cinematographers, amateur directors... Jesus, these amateur directors can get deals for anything. Another comic book? Oh, very good.

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.

Great directors turn in mediocre work and first-time directors turn in exceptional work. No matter how good a person can talk about what he wants, you never know.

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.

Bollywood directors are like cricketers where in one match you score a century, and in the next match, you are out for a duck! Moreover, very few directors are consistent in Bollywood.

The hardest thing for a film actor, especially if you are in a lot of the film, is sustaining energy for the entire length of a production. It's quite tough. With acting, it's not the same as directing. Directors work the exact same hours; directing is incredibly exhausting. The only difference is that directors aren't required to have bursts of energy and focus. They're probably focused the entire day. Actors have this thing of "stop/start." That can be quite draining, actually.

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.

As you're growing up, it's odd, because directors don't expect you to grow up. They think you'll be young forever, but as an actor, there is an awkward period when you're too young for old or too old for young, and it can be an odd time.

Unlike a lot of British directors, I hadn't done any theater. But, I had a great mentor who said, "What you're looking for is exactly the same thing you've done in your documentaries, which is moments of emotional truth.

What I've grown to hate in my 'old age' is shouting directors. I find anybody who screams and shouts to be difficult to work with... especially because the people who scream and shout tend to do it at runners, and not at the main actors. They make a great amount of noise and it's often at someone who is an easy target. I love working with people who are calm, even if my role is peripheral. I like people who realise that this is just a film... that we're not going over the top in No Man's land and screaming for our lives. There's just nothing to be gained by volume.

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.

Playwrights are the most gregarious writers - to get our work done, we need actors, directors, set designers.

If it were up to the executives, they probably wouldn't have directors at all.

There are plenty of bad actors and there are plenty of bad directors. There are actors who will always be bad and there are good actors who you cry for because they're being badly directed or the material isn't good enough.

I fall in love with every film while I'm doing it. I fall in love with the directors, I fall in love with the process. I don't think I could do it otherwise.

I think great directors really respect their actors and vice versa. That mutual respect makes the job fun instead of anything but.

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".

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

The work is the work. The work is not me. I like the anonymity that directors can have about their films. Even though it's my voice, I'm a storyteller.

Sometimes directors may not give you words, you know? They may not talk at all! You've just got to use your radar to figure out how you can get to the center and not lose yourself, but still be directed at the same time.

When you can sit down with a plain sheet of paper in front of you and make some notes, and, little by little, you see it take shape and become a concept for a movie or a TV show. That's a real thrill. You watch it go from notes on a paper to a meeting with writers and directors and actors. I can't think of anything that's more exciting.

Directors have a tendency to use their hands like orchestra conductors. They don't realize that the actor is looking at their faces, anyway.

Usually directors hire me because I'm what they are looking for. But once in a while, and it's very rare, they will hire me and then try to make me over.

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

With the most interesting directors, the cast comes together to make something magical that nobody counted on.

Id love to see more women working as directors and producers.

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.

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.

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

If you're not filled back up quickly, you might collapse like a birthday balloon". I guess that's why acting is so addictive. For the director, that addiction will come from the love and trust he gets from the "orchestra", him being the conductor. That's why many directors fall in love with their leading lady/man: having someone say "how do you want me to be" is incredible.

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

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.

Simon McBurney on "All My Sons" on Broadway - we had an eight-week rehearsal period and I really enjoyed the way that he prepared us to go onstage. It was different than anything I've done and it was a different way of being directed, so I tried to take my different experiences of these directors and give those to my actors.

We, as women, often believe that we have to endear ourselves by acting modestly. But that leads personnel directors to think: Anyone who gives themselves away so cheaply cannot be very good. On that point, women need to get much, much more self-confident and tough.

I'm not the kind of actor that gets crazy with [directors'] names, what draws me toward a project is the material itself.

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

My dad is an engineer by trade but worked a lot with the people in the Indian film industry when I was growing up. He started out distributing films from India here in the '70s because there was no place to go for people to watch movies from the homeland. So he developed a network of actors, writers, directors, and musicians that became his friends and that he would tour around the country with, doing stage shows of the musical numbers from their films.

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.

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

Be collaborative. I've had some of my best experiences with directors who were able to sit down and have a conversation and ask me what I thought.

I don't come to work as an actor. There are many directors who can direct without ever having acted and do a great job and connect with their actors and lead them to excellent performances without themselves having had an acting background.

Back when I was looking for my next step and was researching Gannett, I was interested in who was leading the various businesses within the organization: Are there a lot of women and minorities in important, operational roles, senior management and the board of directors?

If you're creative, they let you be the showrunner, producer. The first thing my partner and I did as producers was hire ourselves as directors - because who else would hire me?

Directors, like actors, get typecast.

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.

If mutual fund directors are independent, then I'm the lead character in the Bolshoi Ballet.