Directors Quotes

When I on set as a director I crazy. My temper is not that good.

But that's not what an actor does. An actor finds things in the moment with a director and other actors that you don't have time to hand-draw or animate with a computer.

As a director, I hoped that I was able to help the actors by giving them the space and the respect they need and the trust. I gave them what I always felt I needed when I was working.

I'm shy to call myself a director still. When someone says, 'What do you do for a living?' I don't know if I've earned that.

I've learned a lot from Clint [Eastwood], who's an extremely economical director.

Working with [Robert] De Niro taught me a lot about being an actor's director.

There are so many female directors coming into the industry and a lot of them have important stories they want to tell that seem to fall a little bit more on the indie level.

When Chris Nolan is your director you are like, "I trust that, I'm wrong."

You have to get it in your brain that you don't belong to yourself as an actor, but that you belong to the director who creates the character.

In theatre, there's the director, the writer, and below them the actor. In film, it's the actors who are most important. That goes against the grain for me.

As an actor, you want a director who makes you feel comfortable in a place that you can really create and try a lot of different things.

I had never thought of myself as a director and found out that I was not. I am a writer who was able to direct the films that I write.

Being a writer-director can sometimes make you incredibly blinkered.

I became a director just for the love of movies, because of the power of cinema.

I'm sure there are directors who don't like to work with actors and don't know how to be sensitive to actors.

I think the perspective that small-town directors bring to films is very different.

The best and most talented directors - and I think it goes for people too - are the most confident in giving room to their actors and trusting them.

I always felt that the telefilm directors made wonderful films, which are even better than the big screen movies, but never got enough opportunities to showcase their talents on the big screens.

To televisionize any serious problem, the program directors face the task of making the message 'go down smooth' until the audience is delivered to the commercial.

I've constantly done my best to get the best material I can get with the best directors I can get to direct me.

Having been a child actor, I remember how directors would trick me to get good performances out of me. I don't think you need to do that.

I've worked with very few directors who've asked of me what I asked of myself.

I would love to occasionally do English-speaking films, but the script is as important for me as the director.

There are so many directors that I want to work with, but I can't tell you that there's one role. If I knew it, I would write it for myself.

I'm a believer in trusting the director.

In Kurdistan, theres a lot of hardship - a lot of wars, a lot of bitter and difficult lifestyles. And witnessing all those made me a director.

Wong Kar-wai and Ang Lee are two Asian directors I'm really fond of.

I do not talk to the FBI directors about pending investigations [on Hillary Clinton].

When you work with a great director, you realise you are far from being a director.

Everyone can do a character the way they want to do it, unless the director tells them not to, which isn't very common. I like to do my characters, if it's not specific in the script, as myself.

The showrunner relationship in television is what the director relationship in film, there's really no more important relationship.

[Fifty Shades Darker director] James Foley directed Fear. And that's what I love about this film, because it has a real sexy thriller element about it.

My big break was becoming the spokesperson for Texas Instruments. Casting directors really started giving me a chance to read for projects.

Sometimes I get insecure about being a real director because I look at the great directors, and they have such command. But maybe that keeps me critical of myself. Maybe it keeps me moving forward.

(As) a director who is a writer, I have respect for writers, so I'm less likely to step on an idea or a line.

There are some directors, lesser in confidence or skill, who make the actor feel very uncomfortable because you feel you're auditioning for them, every day, and that's a terrible feeling on the set.

I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens.

If you look at the types of directors out there, I'm not as weird as most of them.

All the actors I've worked with as a director over the years I really love and I thought they were all right for the part.

I'm not really a guy who wants to be a director, anyway.

I'm not really a full-time director, I just like to direct the things that I write because I think I'm going to know it better than someone else.

I've watched other directors as an actor and I picked up little things here and there about cameras, [but] I wouldn't consider myself the guy you'd want to hire to do Star Trek.

I used to put that I studied with Stella Adler on my resume. I never met Stella Adler. But if you told a casting director you studied with Stella Adler all the sudden they'd let you in the door.

I'm not sure that I'm really relevant as a director anymore. Or as a writer, either, to tell you the truth.

When you trust your director completely, then you can relax, be spontaneous, be malleable.

For me, a director is a director immaterial of the gender. At the end of the day, the audience is only interested in watching a good film.

I love the Japanese director Shohei Imamura. His masterpiece in 1979 called, the English title was 'Vengeance is Mine'.

I auditioned for Ted Bundy and the director Matthew Bright and we really hit it off. He cast me as Bundy's girlfriend.

There are all kinds of directors I want to work with and all kinds of films that I want to do.

Plan B is really a little garage band of three people, and our mandate has been to help get difficult material, that might not otherwise get made, to the screen and to work with directors we respect.