A Quote by Peter Jackson
The director has to win, because you should never force a director to shoot something they don't believe in.
Related Quotes
Film’s thought of as a director’s medium because the director creates the end product that appears on the screen. It’s that stupid auteur theory again, that the director is the author of the film. But what does the director shoot-the telephone book? Writers became much more important when sound came in, but they’ve had to put up a valiant fight to get the credit they deserve.
A director is what a director wants to be. If you want to force something, you can fight to the death and maybe get fired, but it's your job to help push things along.
I don't believe in director's cuts and I also don't really believe in deleted scenes because the movie that is in theaters, that's what the director made.
Any director who comes into a revival owes a great deal to the original director. If I know the backbone works, it gives me, as a director, much more freedom to bring something new to it or try something different.
I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.
It's madness to hand in a script to a director, leave them alone, and for the director not to want the writer there with rehearsals and the shoot.
It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.
I've always laughed at the term "female director" or even "black director." A director's a director.
If you have a vision or if you believe the director has a vision, then at least you've got something to talk about, something to try and head to and I think that's mandatory for every director to have to do a good job.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
There is a director for a reason, because a director knows what's best for the movie. You just give your director as much as you can to work with, and hopefully, the decisions they make are going to be great.
In Hong Kong, in our generation that started out in the 1970s, being a director wasn't a big deal. We didn't even have director's chairs. We weren't particularly well paid. The social standing of a film director wasn't that high. It was a sort of a plebeian job, a second or third grade one. And the studio heads are always practical, there's never any fawning because someone is a director. There's very little snobbery about one's position as a director. The only ones people treated differently were those that were also stars; or the directors who also owned their companies.
The size of budgets does not alter my decision if I should do it. If there's a movie with a budget of only $1 million that I find interesting, then I'll sign up, but it has to be in the hands of a director who can do something with it. Ultimately, it's a director's medium.
There are plenty of writers who are going to become a director after their next job, but no one will believe you're a director unless you believe it.
I think one third of my work is with first-time directors because I think I should, you know? Really, the difference between a first-time director and a second- or third-time director - I mean there's no director who makes enough movies anyway - but if they're talented, they have it. And there is no movie that is perfect.
I am a director because I believe in my own impulses and my own point of view, and that belief encourages me to tell stories that will move, provoke, and change people. But I became a director because I wanted to be a part of the world.
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