Directors Quotes

The attitude of the director is really important, in terms of setting tone.

I think most directors subscribe to the principle that less is more, and the best direction is the most concise direction.

As a director, you just have to kind of like just get through the first project before starting on the next one.

If you are a writer/director, the [movie] characters are a part of yourself.

There are only so many hilarious actors so when they cross-pollinate, people assume it's always the same actors and directors.

I don't think anyone can really make up their mind and say, Now I'm going to be a director.

I got offered to do Ben 10. Sue Blu was the [voice] director of that, and I had worked with her - I think she was on Transformers as well. And she was so great.

[John] Hughes was open to that [rehearsal]. This can only happen if the director and/or the writer are open to that.

Also a good director and good dialogue. That's very important because you're bringing the words to life. So it's very important for an actor to have good dialogue.

Although filmmaking is collaborative and involves trust, ultimately it is the director who holds the whole picture together in their head.

I like a director that encourages me to be playful. I don't really like being restricted or controlled by a director.

For most directors, the scriptwriter is about as welcome on set as a member of the Taliban.

As a director you want to show the truth of people and sometimes that's unflattering, or it's not something that people want to see.

I'm at the mercy of others because I'm not a director. I'm not a producer. I'm not a writer.

My very first news director said to me that it's better to be hated than to have viewers be neutral.

The idea that all violence in movies is okay simply because it happens is bull. Directors and writers have a responsibility.

Sometimes I call directors. Sometimes I just meet with them. It just happens. It's not that I'm pushy. It comes naturally. But I go ahead. I don't stay in my armchair, waiting for the phone to ring.

When I do a film, usually I work from my director. That's my boss. The director is interpreting the writer's vision, and we all interpret it, and they create their own vision as well.

A big thing for me is trusting the director, so I don't need to watch playback. I feel like the director is gonna tell me whether it's right or not.

When I first started acting in movies - as probably a lot of naive young actors do - I made a list of directors that I wanted to work with and sent it to my agent at the time.

I try to offer as much as I can to the director so he has as much to work with as possible to create the character that, really, he wants to create in a sense.

Even with revivals, I dont really pay attention to previous incarnations. I always just go with the script and with the director and am willing to treat it as brand new.

Were I not married to the director, I'm not sure I'd know anything about the 'Underworld' sequel.

Many times, when a director reads a script and wants somebody who says 'Far out', then they let me do what I want with it and that's usually more interesting for an actor.

A director recommended me for the role on 'Soap.' They said, 'She plays heavy roles, murderesses and the like.' He said, 'On stage, she could be very very funny.

As soon as an actor has faith in a director, he just goes with it.

When you do a movie, it's like going on a journey. It's really like the director is the captain of the ship, and that energy, everybody feels.

When you do a rewrite, it's really about serving the director's vision, and what the director needs to go into that script.

When I was younger, I used to write to directors when I was unsure I could play a role. I'd say: 'You've made a terrible mistake.'

A TREAT. FASCINATING. Director Lipes is a classic cinéma vérité practitioner in the mold of Albert Maysles and Frederick Wiseman.

I'm really open to anything that's good. If I read something and it's good, and I like the director, it never really needs to be a specific type of character.

The most important thing for a director is being able to communicate. When you communicate comfortably, regardless of what you're saying, it can always be processed.

I've done auditions where the casting director is taking the paper out of my hand in the middle of reading.

It's very rare that you get a director that lets you be creative and bring what you feel your character should do or should be.

I'm a control freak, so that's why I became a director.

Cable TV has become where the best actors, writers and directors have gone to work because they are allowed to do character-driven stories.

As an actor, youre always nervous as to what a director will do with something.

You risk working with this director, you risk making this movie, you risk working with another actor you don't know. It makes your heart beat faster. And it keeps you interested.

I have done films where we all thought the director didn't know what he was doing and it is going to be a gobble gobble turkey. And you go and watch it and it is great.

The program director at a radio station, by the way, is not the superstar. If he was a superstar, he'd be out creating songs, but he's not. But he wants to act like he has control and power.

I think that certain directors are better at choosing actors that match well with each other. And I have feelings about actors and who I think I'd work well with better moreso than others.

I think to be a good director you have to be a good person and you have to care about people.

There are things that directors know about me that people shouldn't know.

I went to do Eclipse right after The Runaways, and I think the director of that movie might have said to another cast member that he had to beat the Joan Jett out of me.

I'm an actress who likes a strong, communicative director.

I do a film because I like the story and I want to give life to a character - I don't necessarily have to agree with the director.

I like to audition for good projects because if it's a good project, it's an opportunity to get in front of a casting director.

If Quentin Tarantino is your writer-director then you're going to learn the words and your gonna learn why they're the words. You're gonna learn why they're the best words to say.

Every director works differently but one thing's important: they must have a vision. If they don't have a vision I don't care how they work.

I've learned from every director I've worked with. Everybody's style is very different, and I always say that being an actor is the best film school that I could ever go to.