Top 1200 Art Director Quotes & Sayings - Page 2

The director has to win, because you should never force a director to shoot something they don't believe in.

And also, Sergio Leone was considered in Italy a director of category B, not a big director.

One of the challenges of being a director is often you don't get to work with your peers. You know, writers can write together, and as a director you get to work with so many wonderful actors and writers and designers. But it's pretty rare that you get a chance to partner in that way with another director.

The thing that separates a so-so director and a great director is a love and caring for film.

A male director doesn't come to situations the same way that a female director would.

Being a head designer or art director or just even a designer, you need a certain level of experience and maturity.

Inarritu's own nomination for Best Director for 'Babel' was the first such honor for a Mexican director.

What makes art Christian art? Is it simply Christian artists painting biblical subjects like Jeremiah? Or, by attaching a halo, does that suddenly make something Christian art? Must the artist’s subject be religious to be Christian? I don’t think so. There is a certain sense in which art is its own justification. If art is good art, if it is true art, if it is beautiful art, then it is bearing witness to the Author of the good, the true, and the beautiful

A director is a director. Man or woman should matter little.

I don't see myself as a short-film director, and I'm not a commercial director.

I'm very old-school. I like a director to direct me. I like to be the actor. I'm not particularly fond of the hybrid writer-director, or actor-director. Writers, directors, actors are all such very different people. I think it's unusual that two of those people are in one human.

There is no such thing as abstract art, or else all art is abstract, which amounts to the same thing. Abstract art no more exists than does curved art yellow art or green art.

I aspire to be an instrument of the director. I'm happiest like that. The stronger the director, the more I'm willing to give them.

Art is the distortion of an unendurable reality... Art is correction, modification of a situation; art is communication, connection... Art is social, self-sufficient, and total.

When you work with a great director, you realise you are far from being a director.

Miloš Forman is a great director; Jim Brooks is a wonderful writer and director.

I still make more money as I do as an actor than director, however I don't want to be a commercial director.

I don't really consider myself a horror director or a violent director at all.

If I love the script and have a good rapport with the director, then first-time director can also be very special.

Art is the suitcase of history, carrying the essentials. Art is the life buoy of history. Art is seed, art is memory, art is vaccine.

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

My director Shakun Batra, I believe, is one of the finest in the industry and he has been the dream director I've always wanted to work with.

A lot of times I don't know if I trust the director to tell that film's story. Or I think it's inappropriate for a male director to tell a female story, or a white director to tell a black story. Everyone walks away from a movie differently, because you're relating it to your own life.

There is in fact no such thing as art for art's sake, art that stands above classes, art that is detached from or independent of politics. Proletarian literature and art are part of the whole proletarian revolutionary cause.

I'm just saying to everyone. The director does not direct the trailer. It's an edited version that takes so many moments of the movie, sometimes it's not even in the movie. The director does the movie. So don't judge the director based on the trailer. Please.

I'm all for art-house foreign directors - I think they make terrific films - and I'm also for the bigger budget movies. It just depends on what the character is, the director, the script.

The only person who has artistic control is the director, and 'director' is how you spell God in Hollywood.

I don't take anything for granted from any director. I am just a slave of my director.

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.

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.

I have my pride. I'm a director. I'm not going to go and recreate some other director's vision.

When I work as an art director, I don't ask to see sketches from illustrators or photographers. I give them a basic idea, and then I say, 'Send it to me, it'll be fine' - I get out of the way.

All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art.

The director's very important to me, particularly when the director has a recognizable style.

People think a director teaches acting. But in good films a director doesn't.

Very often, it's the director that I'm attracted to. If it's a really good director, I don't even have to read the script to say yes.

I am a director's actor. It is a director's medium, definitely. That doesn't mean I stop using my head.

I think one of the reasons movies are the quintessential modern art form is that it is partially a business. The director needs a crew - the writer, the producer, etcetera - and to have that, he needs money.

Great art - or good art - is when you look at it, experience it and it stays in your mind. I don't think conceptual art and traditional art are all that different.

My dad is Japanese; he was an art director there. My mom is half-English, half-Argentinian. They met in Japan in the '70s. Her parents were diplomats posted there.

God does not ask for 'religious' art or 'Catholic' art. The art he wants for himself is Art, with all its teeth

My greatest strength as an actor is that I follow my director's brief completely. The film is always the director's visual baby.

The respect for a musical score must come from the director... If the director has no power and has to surrender to budgetary constraints, this is where we have the problem.

Art is difficult. It's not entertainment. There are only a few people who can say something about art - it's very restricted. When I see a new artist I give myself a lot of time to reflect and decide whether it's art or not. Buying art is not understanding art.

Fine art, that exists for itself alone, is art in a final state of impotence. If nobody, including the artist, acknowledges art as a means of knowing the world, then art is relegated to a kind of rumpus room of the mind and the irresponsibility of the artist and the irrelevance of art to actual living becomes part and parcel of the practice of art.

For the young generation, when they see that there is a film director from Cambodia to go on to be nominated, for them, a lot can change. I don't know another way to restore our identity if it's not art.

If a director is really a director, I think he's interested in more than one thing.

Your actors need to trust you as a director, but normally, I think you just need to have an open communication between the actors and the director. I think the director needs to really paint his or her vision to the cast and let them know the kind of mood that he or she is making. I think that's very important.

As the art of reading (after a certain stage in one's education) isthe art of skipping, so the art of being wise is the art of knowing what to overlook.

David Boreanaz is actually a very good director and he directed one of our episodes. Excellent director, knew exactly what he wanted. We never had long days with David. He was great, he knew exactly what he wanted and he's a fantastic director.

I think that the first part of the art is making the art, but when art really becomes art is when it belongs to somebody else.

I'm not a great director or an auteur; I'm an ensemble director. I do think I can get wonderful performances out of actors.

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

Richard Lester is a wonderful director, a great comedy director, of course.

In art school we're always taught that art is an end in itself - art for art's sake, expressing yourself, and that that's enough.

I had a teacher/director at the Royal Academy of Dramatic Art, where I trained for a year, named Mary Duff, who taught me practically everything I know.

I was the enemy of the major studio. I believed in one man - one film. I believed one man should make the film. And I believed the director should be that one man. One man should do it - I didn't give a damn who. I just couldn't accept art as a committee. I could only accept art as an extension of an individual.

Art experts are unfailingly opposed to Art for the simple reason that they are interested in Art - but Art is not interested in Art. Art is interested in life.

I consider myself more a European director who is from Iceland than an Icelandic director.

I'm not particularly fond of the hybrid writer-director or actor-director.