Directors Quotes

You don't even need the director's judgement. It's too much.

You have to be strong to be a carpenter, maybe, but the director of a film doesn't need to have muscles.

David Mamet was great to work with. He was everything that I thought he would be as a director. He's incredibly articulate, an easy collaborator. Extraordinarily knowledgeable about film and writing.

I like the old school heavy metal bands like AC/DC and Aeromith. I like that type of music. As the director, I tried to influence the type of music the bands in the movie would play.

If I feel the part is right, and I know that the producers and the director want me, I'd go for broke. Always.

I realized the exciting place was behind the camera with the producer, director and so on.

I don't always see my movies right away. And there are some I haven't seen at all. Sometimes that bothers the directors, so I'm obliged to see them.

Great directors can understand the staging in such a way that can make a scene come alive. Others have a certain way of pacing the scene.

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

Well, if you ask any filmmaker how they got into it, everyone came a different route. Ive never actually watched another director work.

Most directors have little lists in their heads of people they really want to work with.

As an actor we're just like workers in a factory, we provide our services to directors.

Norwegian kids, they grow up well educated in film. So they have a lot of good directors there.

I think my favorite, and Coppola and that whole thing. East coast Italian directors I guess.

I do think that's so much a part of what being a director is - in working with actors - to really try and be sensitive to what each actor needs to get to where he wants to be.

Carefully execute every instruction given to you by the director, producer, and studio. But that would be a life not worth living.

Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.

I always scout locations first. The apartments, the railway tracks, the café, the canal - I figure out the geography of the film.

If a director can find the exact combination between the written word as a guideline and improvisational input from his actors, I think that's where you'll find the most successful work being done.

I've never been a fan of directors who clutter a piece with all sorts of crazy preconceptions or weird ideas.

A lot of the films now are more focused on the visuals than on the actors. I think all directors should go to drama school.

I came up in the community center. I used to be physical director of the South Central Community Center in Chicago on 83rd. It's still there. It used to be around there when I was a kid.

I write music to please myself. Hopefully the director's enjoying it too.

I do listen to a lot of music. Actually, I very often ask directors if they can offer up a play list. They very often have one anyway that they're listening to.

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

I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives.

I've been lucky to get some path-breaking films, which proved to be the turning point in my career. Be it 'Rock on!' 'The Last Lear' or 'Raajneeti,' directors started working in a different way.

Directors have been trying to get me to do comedy for a long time, ever since One Eight Seven.

Considering that I'm British and I talk the way I do, I love it when a director takes a chance on me.

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.

However good a communicator a director is, unless they've been actors, it's just not the same as the shorthand you get with someone who's been an actor.

I'm becoming a frustrated director, I think, in an actor's body.

The film of tomorrow will resemble the person who made it, and the number of spectators will be proportional to the number of friends the director has.

I think what's fun about the fairytales is just seeing what everybody interprets them as, which comes from the different directors and what they want to do with them.

My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.

There's a whole system in Hollywood where the director never speaks to the studio, but I like to engage them in a discussion. I listen.

I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.

A lot of really good directors have a killer in them, as if they'd do anything to get that image. But that comes with the terrain and I don't mind it.

I don't need a director who's 'good with actors.'...A master manipulator is heaven.

I'd like to decide who comes here. I'd like to be the admissions director of New York.

Directors and writers have a lot of stress as well, because they have people they answer to.

Every single director-actor I talked to, from Warren Beatty to Clint Eastwood to George Clooney, said the biggest mistake they made is not shooting enough footage of themselves.

What's interesting is that producers, directors and writers tend to typecast me in terms of whatever movie they've seen me in most recently.

Directors go their whole career without being able to tell personal stories and to work with a cast as talented as they are.

The directors thought, They understand nothing in the real economy, in real life. They read some stupid books, and they came from the moon to the earth, and maybe in one month they will disappear.

There are a lot of directors who are knowledgeable about images, and others who aren't.

Directors never give you anything.

You have to have the essential pleasure of making a movie. It's such a huge factor and adventure for a director because you really are the leader and the captain.

I have worked with some great directors.

Do whatever you're directed to do, and leave the rest of that technical stuff up to the director.