Directors Quotes

I think every movie is its own little world, and a director certainly sets the tone.

Every single time when you act in a film, and there's a different director, which of course as actors we're used to experiencing that's what we do, it's a different experience.

If you do well as an actor, a good director will pick up on it, and keep it in the film.

As a director, you can transform your vision more with the music.

As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.

Definitely my favorite cut is the one that got put out. That's my favorite version of the film, the one that I put in theaters. That's my directors cut, there's no question about it.

When you're a director you always feel weird with another director watching over your shoulder.

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.

I've been very lucky. Directors I've worked with have been very amenable to changes.

I look at the script first and who's directing it and then talk to the director to find out what his vision of the movie is and if it matches my vision and then we go after it.

Our job as directors is to entertain an audience, it's not just to do it for the director. You might as well sit in a white room and look at the movie for the rest of your life - it's ridiculous.

I want to get into the theater. I really wanted to be a theater director, but I turned out to be a movie director.

I'm an actor's director. I love it when talented actors can bring characters to life.

I guess confidence is the only thing that I take from project to project, but I'm always open to learning everybody's style - the director, the actor I'm working with.

I like directors who have worked as actors. They know the experience.

Alexander Gonzalez Inarritu is a great director. He's the one I first worked with. He's amazing.

There's big studio films I didn't want to do. I didn't want to go through the hoops and ladders. I wouldn't have been able to work with the directors I've worked with if I did those studio films.

I'm a little older and I'm gonna do a bunch more movies and then they're gonna put me in a home for old directors.

Sometimes directors feel like they have to justify that hat that they are wearing they've got on as a director, and they come in and they tweak and interfere.

As a writer and a director, I simply don't have the time I need to write and prep the movie I would have wanted to make because of the fixed and tight production schedule.

I'm always very interested in going and discovering a young director's films.

The directors are always sharp. It's true.

You have to have a thick enough skin to cope with the criticism. I'm very self-critical and I have a lot of friends that I trust who are film directors and writers and people in my profession.

I was going to say we saw Secretary [Hillary] Clinton reported that she believes that she would've won the election but for the interference of the FBI director James Comey.

I'm an enormous fan of Ron Howard. I mean, he's the most extraordinary director.

Having a good director is very important. It's crucial. When you do good work with a certain director, you want to work with them again, and hopefully vice versa.

I'd never really done comedy before Community, so getting to work day in and day out with all these great people, directors, writers, and actors, I feel like I've learned a lot.

I always want to do something I haven't done before and get to work with other actors, writers, or directors that I want to work with.

I think when you have some success as a kid, your notion of being a good actor is pleasing the director, doing exactly what they tell you to do.

I've been very lucky to work with many amazing animators and directors who can interpret and extend the music I make. When it's done well, it can create extra meaning and new context for the song.

I acted for so many years and sat on a million sets and worked with a million different directors so that is to me some of the best training you can get.

Every time I act in something, I learn something about what the director is doing. One feeds the other.

I only produce directors and movies that I have a lot in common with.

With every movie I produce, I learn something. I watch the directors. It's like the relationship you have with your children. I'm there to learn from my daughters. They are the perfect spirits.

As a first-time director, you cannot have final cut. But as a producer, you can have final cut.

If you don't take it personally, the partnership between producers and directors is very intimate.

If a good actor wants a role, they'll do whatever it takes to get the part. Directors are the same. We do 'meetings', not auditions: that tells you a whole lot more about an actor, too.

I've been able to work with great directors in Israel.

The longer I've been a director, the less I have to 'direct.'

I try to add as much as I can before a director says, 'Harold shut up!'

I didn't go into the theater to be a producer, I went into the theater to be a director.

I look for something that grabs me and that's heartfelt, and that's coming from a good place. I want to work with good actors and with directors that I can learn from.

I think I have more of a director's brain than an actor's brain, in a way.

When I was making films [early in my career] there were very, very few female directors, and there were certainly no women on set, which made taking one's clothes off all the more difficult.

Some directors are comfortable with music. Some feel comfortable discussing and talking and operating in a musical language. Others don't engage so much.

For many years, my favorite director has been the Japanese giant Akira Kurosawa.

I rode it once, which was up the driveway in the opening credits of the show. I didn't know how to stop it. I actually nearly killed the director of photography, and I smashed into the sound truck.

I feel like I've had a really great intense relationship with every single Director I've ever worked with. I can't say there's one that hasn't been deep and profound in its own way.

I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.

I come from the theater, so for me rehearsal is vital and a way of life. There are many film directors who don't believe in it and some actors who prefer not to rehearse.