Top 1200 Art Director Quotes & Sayings - Page 4

In the life of a director - these days in particular - when it really does take so long to do a movie, with a few exceptions, actors may never work with a director again, even if they're great friends.

I know as a director I hit it out of the park sometimes, and sometimes we haven't, and that's kind of the way art goes. You just have to be willing to take the 'failures' and learn from them, make the best of them.

I don't say, 'Francis Ford Coppola, what a wonderful Italian-American director.' I judge him based on his film, his craft, his art. That's the way I feel I should be dealt with in this industry.

To me, music is art and fashion is art, but fame? Fame isn't art, but the person you become when you're famous - your alter ego - that's art.

With the selection of Acting Secret Service Director Joseph P. Clancy as the director, President Obama has guaranteed that the agency will continue to lurch from one shocking security failure to another.

What a director does... essentially, it's storytelling, but a director also controls the feeling and the sounds and the texture. It's an act of creation, like a symphony or a painting or a story. But with different tools.

Much like teaching art to young art students age 10 to 15 or so on, you have to break it down into bite-sized pieces, essential components. You have to - you know, at this point I'm so used to operating within given assumptions about art. But when you're explaining art to art students or people who are new to this experience, you have to really go back to the fundamentals.

I wanted to find a way to merge my taste as an art and creative director with my new little obsessions: babies and motherhood and all of that. So I began working on my website, Romy and the Bunnies, which is named after my daughter, Romy.

My dad is a successful television producer, director and writer, and my mom's a director and writer. Even when I was young, I wanted to be an actress.

A good director is not an expert in anything in particular. A good director just knows a little bit about everything.

There's no such thing as an actor giving positive criticism to a director. The minute you say 'Don't you think it would look nicer...', that director's going to hate your guts. Particularly if it's a good idea.

You can be playing a line some way and the director wants you to change that, or you can disagree. But I always think that the creative conversation between director and actor is what leads to good work.

Public art is a unique type of art. It's very different to gallery art because it is something that we pass by every day and it inevitably creates a lot of discussion in a way that gallery art does not.

I'm not a famous director yet, and I'm not into fame. I like to just work. As a director, as an actor, whatever people consider me is fine with me.

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.

The director does not have anyone to blame but himself. He or she cannot hide behind anybody. If a film is a hit, everyone gets the credit, but if it flops, only the director can be blamed.

Art isn't only a painting. Art is anything that is creative, passionate and personal. Art is the unique work of a human being created to touch another. Art is created to have an impact, to change someone else.

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.

I view the director as my boss. I'm the pawn on the chess board. I don't say something to the director easily, because they are my boss.

In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.

I have an architecture degree; that's what my college degree is in. And that sucked. I started doing Web and CD-ROM development really early on, and then that grew into being an art director and doing advertising work.

Art is personal, originating from dreams, ideas, neuroses; art is shared, harkening back to the humans around the fire; art imbues pleasure and power by enabling people to know reality...Art is a necessity because it is a way of knowing...Is the need for truth physiological? Art exists out of time...images may be different bu there is always a repetition- a thread.

On various shows, I've been the producing-director, the executive producer-director; and if you were working with the material you love with the right group of people, it's an incredible job to be doing.

As an actor, I'm attracted to drama; as a director, it's humor - because it's the story of my life, and I can't be that serious about it. Being alone is a big theme in all my movies, both as a director and as an actress.

When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.

Becoming mature is not important for art. Technical perfection is not relevant to art. Precision in art is only achieved by total duty of loyalty. Love, lusciousness, birth and fertility are precise tools of art, like laws.

There's no such thing as an actor giving positive criticism to a director. The minute you say 'Don't you think it would look nicer', that director's going to hate your guts. Particularly if it's a good idea.

When I accept a role, I feel that as an artist I have to submit completely to the tutelage of my director. And while I expect to be heard and encouraged and honored, at the end of the day, man, it's the way the director wants it.

I would love to get great performances from actors as a director, because that's what I'm always looking for, a director that's going to help me go places I've never been before.

I see myself much more as a writer/director or at least an aspiring writer/director - not necessarily in film.

I follow the director's lead because they generally know more about the big picture, but I also trust that the director will give me enough freedom to play.

There is quite an important director in Germany who I think in the early fifties over here, and then went back, and he said something that's absolutely true. And it's more important to repeat that today than it ever was. Not for you, but for us over there it is important. He said, 'In America they make movies like art, and sell it like commodities. We make make movies like commodities and sell them like art.'

In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring out that choreography.

There are three forms of visual art: Painting is art to look at, sculpture is art you can walk around, and architecture is art you can walk through

Art makes people do a double take and then, if they're looking at the picture, maybe they'll read the text under it that says, "Come to Union Square, For Anti-War Meeting Friday." I've been operating that way ever since - that art is a means to an end rather than simply an end in itself. 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.

Bradley Cooper was amazing as a director. Like you hope the director is nice, you hope they are cool, and he was at the top of the list.

I think if I wasn't a musician, I would be a high-school band director or orchestra director. I like working with large groups of musicians and bringing out the dynamics and accomplishing something as a team.

One thing that I have learnt from many senior actors is that you can never take anything for granted. Whether one is working with the best director or a first-time director, every experience teaches you a lot.

In order to be a good director, you also need to be a good entrepreneur because the director is in charge of everything and everyone on the sets.

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

My attitude as an actor, because I'm a stage actor, is whatever the director tells you to do, you try it. You don't resist what a director is giving you.

I have hardly ever worked with the same director twice. But when you have worked with a director before, you understand his behavior.

'Hanna' was nice. It was Saoirse Ronan's idea. Usually, the director casts the actor, but in this case, the actor cast the director.

Ultimately, a director is a storyteller. I wanted to fortify that part of my life as a director, so I thought the best way to do that is to study and learn about the greatest stories ever written.

Filmmaking is a creative process so there is a lot of collaboration that happens on set between an actor and director, but at the end of the day, we're there to actualize the director's vision and things happen organically.

At school, I decided I wanted to be a director and then I went out and spent the rest of my adult life trying to be a director. It was really clear to me. So in that sense I was very lucky.

Art makes better humans, art is necessary in understanding the world and art makes people happy. Undeniably, art is not optional.

In films, you have to follow the director's vision. Filmmaking is a director's medium. So everything happens as per the script and his vision.

I am being investigated for firing the FBI Director by the man who told me to fire the FBI Director! Witch Hunt.

After high school I went to the San Francisco Art Institute, and I began a formalized art education where we went through the history of art but we also went through the art of my contemporaries.

When I was young, I was like, 'I want to want to work with this director and that director'. I've stopped doing that. You put yourself in a place where you get disappointed.

You never really know what the director has got in his mind as far as the scene visually and art direction wise, etc. Even if you do, sometimes there's a side of things that don't necessarily gel the way people intend. So there a bit of a mystical entity, film.

I have studied the art of the masters and the art of the moderns, avoiding any preconceived system and without prejudice. I have no more wanted to imitate the former than to copy the latter; nor have I thought of achieving the idle aim of art for art's sake.

The one object of fifty years of abstract art is to present art-as-art and as nothing else, to make it into the one thing it is only, separating and defining it more and more, making it purer and emptier, more absolute and more exclusive - non-objective, non-representational, non-figurative, non-imagist, non-expressionist, non-subjective. the only and one way to say what abstract art or art-as-art is, is to say what it is not.

After directing movies, I respect any director in this world, because making a movie as a director is tons and tons of work.

An office party is not, as is sometimes supposed, the Managing Director's chance to kiss the tea-girl. It is the tea-girl's chance to kiss the Managing Director (however bizarre an ambition this may seem to anyone who has seen the Managing Director face on).

Maybe this is a utopian view of art but I do believe that art can function as a vehicle, that it isn't just a cultural pursuit, something that happens in art galleries. Unless art is linked to experience and the fear and joy of that, it becomes mere icing on the cake.

The secret is you need a director who refuses to walk away and you need a director willing to put their whole career behind the project.

I read that Hollywood wanted to film Fences years ago with a white director, but [August] Wilson refused. He thought that the director needed to have lived the culture of black Americans.

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.