Directors Quotes

I'm happiest when I can just be a director and watch.

When you're on stage with an audience, the director's nowhere to be seen. He's onto the next job.

I think if I were asked to do as many as fifty takes, I would assume the director had no idea what he wanted, and was just hoping, eventually, to see it.

The directors [who know every detail] make films that are complete, basically.

I'll always be attached to telly in one way or another, whether it's a character or producer or director, I just love the medium.

I still write. I'd love to write more trashy chick-lit. At the moment, I just re-write my own lines, which probably annoys most directors - though, thankfully not Adam Brooks!

I have a side of me that doesn't care. I really enjoy physical comedy, thinking of an idea and pitching it to the director.

The real trick for me as a director is to make sure that people don't start pushing because the harder you push as a perform the less funny it becomes.

As a director/writer/producer, all you ever want is to work with actors who make you look better, who make the work you do seem as good as it can be and even better than it is.

You can only have one voice on set, and that has to be the director.

I look for good directors mainly because if you do enough of movies where there's not a real creative vision behind it, you start to turn into a robot and you want to jump off a bridge.

As a means of supporting experiential element in film, once I begin to work on a particular movie I consider myself to be the tool of the director.

As an actor, I want to give in to the collaboration with the director because I don't want my work to be all the same. The more this can be done with comfort, the more variety my work has had.

OK, the director makes the movie. But some movies can't get made without someone like me in them.

I look for a director with a script he likes a lot, but I'm probably after the directors more than anything.

I believe I am a better director than actor. I enjoy acting if the part is right. Directing comes very naturally to me. I enjoy it. I am very confident in my work.

If the director of the department doesn't even know what the privacy policy is, we are in trouble.

You can't rely on the approval of others. I used to always look for praise from my directors to reassure myself that I was doing a good job. I don't do that anymore.

I guess I like a lot of directors. Or at least I try to.

I knew that I always wanted to be a filmmaker, an actor, a writer and a director, that was always my plan.

I like the conscious manipulation that a great director can have. When you're both complicit in the manipulation of an emotion.

I prefer to work with first-time directors.

I don't have an interest in being a director-for-hire on sitcoms - but if it's a really cool show that I thought I could bring something to, I would love to do that.

I started out with this dream of being a director and doing cinematography and bought my first film camera at 15.

I almost became a music major, but somehow I was so enthralled with the camera and becoming a director that I stuck with film school and theatrics.

I do not know if it is true that all actors want to direct and all directors want to act, but in 1972 I tried directing and decided I had better stick to acting.

A director on a film really sets the tone of how people go about things, so everybody is happy to be at work and everybody does their best.

It's great working with directors and with somebody else's vision.

I'd been on all the television programs as an actor, as a writer, as a director, as a producer.

Blood City III: The Massacre. I'd read the summary of it online, and frankly, it sounded like the directors had just decided to film my life.

My advice to women directors is just to make the best work possible.

I think women directors have to be really tenacious.

There's very exciting directors who haven't made a feature yet. That's what's cool about the job - the ever-changing landscape of people you could potentially work with.

There's no director who wants to portray cheese puffs with a certain color that's going to make or break the commercial, in his opinion. We don't have to do that, so I don't miss it at all, really.

One of the wonderful things about being an actor is that every director is different.

A lot of the things that we've been able to do in the last several years were Democratic ideas, including the structure for this new director of national intelligence.

TV, it's a director's medium, and they wanna make it look interesting. To be rehearsing mostly for the sake of where you're standing so they can do the lighting, that's what I don't like.

Yeah, the actors really come in as lumps of clay. We're ready to work with the directors and find our way. These guys really come in having done their work.

You have to move really fast, as a director in television. If you're able to keep things moving on set, everybody has more fun, and when everybody has more fun, the end result is funnier.

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

In many cases for an actor it's a comfortable position to be in. But it's harder to fail as a director.

OSS 117 and maybe Un Balcon Sur La Mer directed by Nicole Garcia. It's a typical French movie with typical French themes with French actors, a French director.

As an actor and director, you have to take risks, even though I don't like saying that word. You can make a mistake.

In France, I have lots of opportunities. Maybe now I'll be offered films in America. It's the encounter, with the director and the story that counts.

What I promise to my actors, and to my director, is to give them the salary and everything they need.

Now at my age I understand how sad it must have been for some directors or actors at the time the talkies began. Because, really, a whole continent disappeared.

I love those films where I feel the director's confidence - where he doesn't need to overdo it with the shots and the cuts.

In a career, when you hit 40 and you've done a lot of this and that, you want to try some new things. I feel like that as a director, too, from one film to the other.

I know there were things emanating from me. I was not aware of what attracted all these directors to me.

I've worked with a lot of first-time directors who kind of look to me for ideas and opinions and stuff, and I'm a team player.