Top 1200 Art Director Quotes & Sayings - Page 3

I am completely a director's actor. If the director gives me the liberty and freedom, then I give my inputs. Otherwise, I just follow instructions.

I believe the director is the one that sets the mood and if you have this hysterical director it's a domino effect. I would work for him forever, for nothing. Don't tell my agent that.

I'm really a director's actor. I rely heavily on a director.

For me, as an actor, there is no commercial or independent or art cinema. For me, it's a character that is given by the director. And it is a task for me that I have to fulfill it to the best of my ability regardless of the kind of film that it is.

Filmmaking has always involved pairs: a director coupled with a producer, a director alongside an editor... The notion of couples is not foreign to cinema.

The producer can put something together, package it, oversee it, give input. I'm the kind of producer that likes to take a back seat and let the director run with it. If he needs me, I'm there for him. As a director, I like to have the producer there with me. As a producer, I don't want to be there because I happen to be a director first and foremost, I don't want to "that guy."

We believed that there's no such thing as good art or bad art. Art is art. If it's bad, it's something else. It was a much, much harder line in the '50s and '60s than it is now, because the idea of art education didn't exist - they didn't have a fine arts program when I was a kid.

Although I do not care for the slogan "art for art's sake", there can be no question that what makes a work of fiction safe from larvae and rust is not its social importance but its art, only its art.

I just realized that I need to be a director - for two reasons. One, directors were already my heroes at this point. I wanted to; when I wanted to be an actor I wanted to work with this director. Not work with this actor, I wanted to work for this director.

When I do a still picture, I'm doing it all by myself with no help. I'm designing everything. I am my own art director. I'm doing everything. I'm directing, editing, whatever.

A lot of directors don't know what they want to do. Every director I've seen that was a good director that I've admired knew exactly what he wanted to do. They didn't sit there and think about it.

For me, a director is a director immaterial of the gender. At the end of the day, the audience is only interested in watching a good film.

As a director myself, you want to have colleagues and collaborators that respect your authority as the director. I'm very comfortable with that, and I've done a lot of work in second unit.

You see these actor/director relationships in the celebrity world and you understand why. The director knows which buttons to push and it makes it so much more familiarized.

Prayer is a fine, delicate instrument. To use it right is a great art, a holy art. There is perhaps no greater art than the art of prayer. Yet the least gifted, the uneducated and the poor can cultivate the holy art of prayer.

William Castle and Alfred Hitchcock were the first director-personalities. Before then, nobody in America knew what a director was.

Contemporary art is based on that an artist is supposed to go into art history in the same way as an art historian. When the artist produces something he or she relates to it with the eye of an art historian/critic. I have the feeling that when I am working it is more like working with soap opera or glamour. It is emotional and not art criticism or history of art.

In a lot of cases, you think that the art director and the production designer designed and built this amazing set, when in fact they only built part of it and were able to extend it using all of this fabulous technology.

Bullfighting can be an art Boxing can be an art Loving can be an art Opening a can of sardines can be an art

I don't have the education of an art historian. I've certainly read about art and look at art and have educated myself to some extent. But I'm not a skilled or thorough art historian and I wouldn't call myself an art critic.

To have a museum like the Museum of Modern Art in New York is to have power. I don't have any interest in being the director of an institution that has power.

I like to adapt to a director's way of working. I love doing that. Each director is so different, and you have to adapt to this new way of doing something. That's what's amazing to me. That's why I love directors. I don't want to director to have to work around me. I think it's more fun for me to come in on their thing.

Sometimes when you're doing a comedy, the director will yell out "alts" and then the director gets the first laugh.

Yes, they allowed us to play around a lot because, like we said, the director's such a good comedy director.

So many features at Sundance seemed to be powered more on the director's need to be a director than any particular story.

The best directing style is the one that lets me do whatever I want. Seriously though, I like to be challenged and I like to collaborate. I love finding the medium between what I think and what a director does. I hate when a director uses the "my way or the highway" approach. But it also sucks when they tell you everything you do is great and offer no input. It's a fine line a director has to walk. It is a hard job.

I was a frustrated musician, frustrated designer, frustrated art director, frustrated novelist, right. I'd fail at all these different professions.

I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.

Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.

Michael's Powell art director was a painter and they had a wonderful friendship and artistic understanding. Michael himself, in the way he designed his own house, it was always with bright colours. Very un-English!

I thought ['Sailcloth'] was a terrific script. Elfar Adalsteins, the director, is bound to be a director we'll hear from, and the whole thing was really enjoyable.

Working with Ram Gopal Varma is a great experience. He is such a wonderful director and no other director gives freedom to the actors like him.

Films are a director's medium. We're all stemming from the director.

I don't know a single collector or museum director who says: 'Oh, he's on a list, so I think I'll buy something of his.' The people who buy my art put a little more thought into it than that.

My director is usually aware of what works for me and what doesn't. For 'Srimanthudu,' I have to give full credit to director Koratala Sivagaru for handling my character the way he did.

I'm just a middle-class farm boy from Dodge City, Kansas. And I always thought that acting was art, writing was art, music was art, painting was art, and I've tried to keep that cultural vibe to my life.

For Mike Mills, I learned that having dance parties and crying with your cast does not make you a weak director, it makes you a strong director.

The real work of an actor goes on inside, and I don't think it changes from director to director - I always go for broke! But I don't get a lot of direction, unfortunately.

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.

If you look at the least effective of the 'Twilight' movies, it was when they brought in an action-movie director instead of a director who was really a good storyteller. And you can tell the difference.

You can assist another director and learn the ropes of the craft over the years, but becoming a director is about finding your own voice, so you've got to experiment.

I like art with a sense of humor. I don't have a huge art education to understand everything. I don't think that means that art has to be watered down to the lowest common denominator, though. I don't think you have to go to college to be able appreciate great art, but I like art that doesn't take itself too seriously.

Every department from the director to the art takes their time to set up, similarly as an actor it is your responsibility to take your time. Never be in a rush.

Warhol and other Pop artists had brought the art religion of art for art's sake to an end. If art was only business, then rock expressed that transcendental, religious yearning for communal, nonmarket esthetic feeling that official art denied. For a time during the seventies, rock culture became the religion of the avant-garde art world.

What I like in pictures whether by an old director or a young director is when I have the feeling he or she is really using the capacity of film.

I don't know what I'm qualified to do, film-wise... So it's really down to a director or a casting director to find something that they think I could do.

I like a shoot when I feel strong and sexy, a little hard, with a darker edge. That's what I do best. I like giving a photographer what they want, working with the art director. And modeling is all I've ever known.

My kind of director is an actor-director who writes.

I don't believe in director's cuts where you make things longer. The coolest thing was when the Coen brothers did a director's cut of 'Blood Simple,' and they made it shorter.

Art is freedom. If we don't have that element, we don't feel human anymore. Art is not decoration or a function. Before all that, art is art. This connection to meaning - our inner, intuitive knowledge - is something.

Trying to make something as tricky as 'Room' really believable is extremely hard, and it largely rests with that relationship between the actors and the director, and the director and the crew.

I think that, again, filmmaking is the director's medium in the end, and the best thing a producer can do is stay out of the way and support the director one hundred percent.

Art is frightening. Art isn't pretty. Art isn't painting. Art isn't something you hang on the wall. Art is what we do when we're truly alive. An artist is someone who uses bravery, insight, creativity, and boldness to challenge the status quo. And an artist takes it (all of it, the work, the process, the feedback from those we seek to connect with) personally.

I think when you pay attention to the shots, you're aware of the fact that there's a director. Really, it's the director's job to disappear and allow the movie to just feel.

The director is the ultimate creative arbiter of what's going to happen. And as a director myself, you really appreciate collaborating with people who are trying to help you find what you need and what you want.

I joke around sometimes and say that the DP [director of photography] is like a shrink for the director, but there's some truth in there.

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.

Every big-budget film is powered by a director's vision. I blindly follow the instructions of my director, believe in him, and deliver what he exactly wants from me.

I've had friends who have come away who've said, "I shouldn't have become such close friends with the director." You always want to get on with the director, but I personally prefer a relationship where you respect them - you get on really well with them, but they're boss, as it were. It's about trusting your director, for better or for worse. They're the one's seeing what's coming out on the monitors, so you have to try and trust what they say.

Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?