Directors Quotes

Some directors have just one way of working; you either have to adhere to it or you don't.

Casting directors tend to be the unsung heroes in this business.

[Martin Scorsese ] basically works just like any other director. You work the scene, you try to find what's best in it and make it work. That's what it was like.

[Out To Sea] began a relationship I had with [director] Martha Coolidge for a few years that was wonderful, and she certainly cast me in the best roles I've ever had in film.

Unless you're the director on the movie, or putting up the money for the movie, you really don't have a lot of control.

When you're the director, you kinda do all the work.

I love movie directors. I don't care who it is.

Television is certainly a writers-led medium. They're the ones who are there, they're the ones that are conferencing or whatever, with directors coming and going.

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 was 17, certainly by the time I was 19, I knew that show business was where I was going to end up, and I had my sights on being a director.

Larry Kasdan is a great director.

There were movies that always made me want to be a director. You see brilliant scenes and the way the emotions were handled. I thought, I'd really like to do that.

Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.

On stage, the audience watches from a fixed viewpoint and the director cannot retake something he doesn't like. It has to work straight through.

For a director, the most challenging scenes are the dialogue scenes.

Matching character and actor is what a good director does.

As a director you come in and tell the actors how good they are.

Actors, writers, directors - that triumvirate of creativity - we have to rely and trust each other to be able to get to the final product.

If you have a screaming angry director, everyone else will be panicked as well.

I mean, I'm willing to do anything with Chris Chulack - he's one of my favorite directors I've ever worked with, and I just think he's a fantastic man, and a great creator, and a good friend.

It's a collaborative art form where we can both learn something from the other. That's what you want from the relationship with a director.

That's how I am as a director - if somebody does a really good take, I can't help it, I'm not even aware of it. Actors really, really need positive reinforcement.

Even if I loved the script, the director has to be right because it's all about the filmmaker. It's their vision. They're the ones that go back into the editing room and reassemble the film.

At times as an actor, it's often times unclear as to what the directors envision for a project.

If someone suddenly lost their director the day before shooting and wanted me to step in, I'd be willing to. But I'd do brain surgery the same way. I'm always up for something new.

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.

The lack of racial diversity and gender diversity and the lack of female directors - those are not fashionable issues. And they're not issues that reside solely within the film industry.

Becoming artistic directors is an enormous responsibility and not one that we take lightly.

Every director works differently.

Be what we make, and not who we are.

Most of the time I've worked with directors who write their own scripts. The story is more important to me than the part. The project of the film has always been more important to me.

As a director, you've got to have quite a few projects going because you never know which one will actually come together with the financing and get the green light.

I happen to have worked with male directors who don't understand women at all. Not at all. I'm flabbergasted by their ignorance.

Adrian Lyne is such an incredible director.

There's only a few directors that can do what Emmerich does on an international scale and on an action scale.

I never turned down anything and never argued with any producer or director.

What happens often is the script is written and once the director comes on board you have lots of conversations and it mutates again.

I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.

I tend to ... if I decide to do a job, want to be able to trust my director...

I think since I did Monster I really started understanding how hard it is for first time directors. I think there's a lot of great stories out there, but it's high risk.

I like working with different directors; it keeps you on your toes.

I would love to be a fly on the wall watching other directors and actors to see what their process is like.

Actors rarely stay in touch with directors after they've filmed together. We go back to real life.

Having a director who is also an actor makes for that very relaxed way of working and it's empowering.

I'm reading Joe Eszterhas biography; it's fabulous. Every time he made a movie, he fought with the director or the producer over the ending.

Ultimately, making movies, if you don't have a big star, it's hard to do. Or if it's not a star director.

A lot of directors, they're creative, but they're different.

The point of having a director is that they make the final decision; it's their point of view, they set the rhythm and they make the final decisions.

What you feel is important may not be what the director feels is important.

A director should cast a person who fits into their script.