A Quote by Fritz Lang
Each picture has some sort of rhythm which only the director can give it. He has to be like the captain of a ship.
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As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
A captain always knows where his ship is. It's like a psychic bond." "If only we had a captain here.
It all has to do with the director, the captain of the ship. He sets the pace, the mood. If the director is quiet, the set is quiet. If the director is loud, then everybody has to be louder to be heard.
Life is like a ship. There's people dancing on a ship.There's a lot of money on the ship, but I cannot integrate on the ship or get equality on the ship.And I never could. I'm just in the galley working and I never could get up to see the captain of the ship.
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.
To me it's like, every time I'm a director, like today, you're the captain of the ship, so you better dress like it. You're the host of the party.
One of the problems in the Navy is that tradition of being captain of the ship. And an awful lot of people can be retired in the Navy, get over it, get a life, and go on. But there's a lot who can't. And when they have to give up the ship, they got to be captain of something, every single day.
The experience of shooting a film is about the script, the captain of the ship who is the director, and the way they push their actors and teams to give their best. It's not about the language and the region.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
A director is the captain of the ship; he gets the vision of the film much before anyone else can. While I want to experiment with characters, I know a good director means I am in safe hands.
The director is the captain of the ship, without question. No matter what their talent or energy level is, everyone on the crew has all eyes on the captain. If they come in going, "I don't know. Maybe we'll do this. Maybe we'll do that," you've got 10 days to shoot and they don't care what you're doing.
You are like a captain navigating a ship... You must give the right orders, thoughts and images to your subconscious which controls and governs all your experiences.
There is so much to sailing a ship. There's about a thousand different lines on a brig ship, and knowing what each one of those does, it takes a long time, and that's why you have these cabin boys that start on the ship, and they learn throughout the years, and that's why it takes so long to captain one.
Gazzy: "Captain, like the captain of a ship. And then Terror, you know, T-E-R-O-R.
There is always a collaboration between the director and the actors, and you always have to listen as the actors have to listen to you as a director. In the end, you as a director, of course, are the captain on the ship.
The doctors take the bodily evidence as the disease. . . . disease is itself an impudent opinion. He throws off the feelings of the sick and imparts to them his own which are perfect health, and his explanation destroys their feelings or disease. . . . He is like a captain who knows his business and feels confident in a storm, and his confidence sustains the crew and ship when both would be lost if the captain should give way to his fears.
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