Top 1200 Board Of Directors Quotes & Sayings - Page 3

Any filmmaker, big directors, and I'm not dropping any names - I actually have couple names I want to say, but I will not - we have a ratio. Each thing you repeat, my ratio is one to four.Actually some people are ratio one to 34. I know couple directors, big directors, they are just shooting over and over.

I adapt to directors, I don't like making directors adapt to me. If I'm with Clint Eastwood then I'll do two takes, if I'm with Fincher I'll do 50 - though the thought of that sounds horrible.

I subscribe to the great George G. Scott quote, "All actors are in trouble. Directors who don't help are a pain in the ass". We all need help from directors. We are all equally insecure.

In 1997, I, along with 200 other young ophthalmologists formed the National Board of Ophthalmology to protest the American Board of Ophthalmology's decision to grandfather in the older ophthalmologists and not require them to recertify.

Breaking a dream board is almost like breaking up with your girlfriend. You are super shattered at first. But then once you get another dream board, it's all good.

It's a real testament to the amount of skill and talent involved, across the board, whether it's the production design, the construction, the costume design, the other actors, the way it's shot, the directors we had on it, or obviously John's writing. When things do go well, it sometimes seems easy, in a weird way, but it's actually down to a lot of cogs working in a big machine. But, I'm certainly happy to be going back. I'm excited to carry on.

Marvel has this tradition, and I think that Sony has this tradition too, of hiring directors for Spider-Man who are dramatic directors. That are directors who are interested in human beings, in characters, in drama, and who are really good with actors. That kind of feels like a Spider-Man director to me. And because Spider-Man is always as big as the films that are being made at Marvel, it always is character and story. You can never take that out.

I think the kind of togetherness and understanding between music directors and singers, and between producers and directors, is not the same anymore. Now, it's all too professional.

We don't have an isolated group [of senior managers] surrounded by servants. Berkshire's headquarters is a tiny little suite. We just came back from Berkshire's board meeting; it had moved up to the board room of the Kiewit company and [it was so large and luxurious that] I felt uncomfortable.

Most of my life, I read what is said on IMDB. The fans on the Raw is War board make the most sense of any Internet fan, apart from the one or two that create second accounts to bash me. Keep the board alive-uh. Paul Levesque

Nowadays, there are seven music directors in one film. I had never heard of such a thing before. If one of our old music directors was told to share a score with others, he would have left the assignment.

I'd worked with directors who wouldn't collaborate. Then I've also worked with directors who didn't really know what they wanted. I knew I didn't want to be either one of those guys - or girls.

Sometimes, when you work with directors who have done it a lot and are established in the business and know the game, there are all these rules that they have. First-time directors will allow you to come in with choices. They're not so jaded by actors that they're like, 'Ugh, just do your job, man.

When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like youre in the way.

Female directors, directors of color are a big thing for me, which are both important voices and potent voices that need to be heard. That's how I want to engage myself as an actor going forward.

Like on the airlines, they say they want to 'pre-board'. Well, what the hell is 'pre board'? What does that mean? To get on before you get on?

Sometimes, when you work with directors who have done it a lot and are established in the business and know the game, there are all these rules that they have. First-time directors will allow you to come in with choices. They're not so jaded by actors that they're like, 'Ugh, just do your job, man.'

We had rising student achievement across the board because high standards, robust accountability, ending social promotion in third grade, real school choice across the board, challenging the teachers union and beating them is the way to go.

When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like you're in the way.

I'm a big believer of having a vision board, so I have a vision board, and that's motivating because it shows me all the things I have accomplished and all the things I still want to accomplish.

You have to go through a big process with the Directors Guild in order to get co-direction credit. They sit you in front of this microphone in front of like 40 legendary directors, and they start grilling you.

There have been directors that I did not enjoy working with, but for the most part I realize that I have been unbelievably spoiled in my career because I have worked with some of the greatest, greatest directors ever.

There are a lot of female directors in Lebanon but we can't really talk about a true film industry, it's still very small. But we do have a few female directors.

I think 'Settlers of Catan' is such a well-designed board game - it's the board game of entrepreneurship - that I made a knockoff called 'Startups of Silicon Valley.' It's literally - it's the same rules but just a different skin set to it.

I can't imagine any director directing a screenplay of mine, because the great directors all have very personal styles, and the ones that don't are not very interesting directors.

I don't really consider myself a female director, and I don't want to do so for other women. Female directors are just directors.

I guess once you've been acting for a long time, you glean the great bits of good directors and the bad bits from other directors, and you know the way that you would like to be directed.

You work with great directors and terrible directors, and so you learn; you take what you think will work for you.

I have worked with top directors like Rajamouli and Vinayak and with upcoming directors like Vamsi.

I do not know myself how I paint it. I sit down with a white board before the spot that strikes me. I look at what is before my eyes, and say to myself, that white board must become something.

I go where the material is, and I feel like I'm looking for really strong directors. That's the key ingredient. There are some directors I would move the sun and earth for, or stop the rotation of the planets, just to work with them.

When I was an undergraduate in Film & TV at NYU/Tisch School of the Arts, most of the projects I shot had male directors, and only a few had female directors.

The professionals at the State Board of Elections must assume control of the county board of elections operations in Bladen County, which has shown itself incapable of managing fair elections.

Exodus is a very large organization. My board of directors is supportive of me as the president of Exodus and are very much involved in my decision-making and those types of things. They're a wonderful and balanced group of people and I'm grateful for their support. Within the membership we have 270 or so members within the network of Exodus whether that's a local member ministry, a counselor or one of our members of our church association.

If you talk to anybody who's been successful in business, they will tell you the thing that matters the most are people. And clearly, in this case, the quality of the people was not paid attention to. By the board and I don't know what they were doing. And I think there is a certain accountability by the board here.

In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut their movies in their head.

Favourite directors change, like favorite authors. I had a passion for Gide and Stein and Faulkner. But now they're no use to me anymore. I've assimilated them - so, enough, they are a closed chapter. This also applies to film directors.

I think I happened to work with sort of a bunch of slightly difficult male directors when I was a kid. I've since worked with lots of male directors that I love, so I no longer see the distinction gender-wise.

Most Chinese filmmakers grew up watching television; they watched films on television, not in cinemas. The scope of their vision is not big enough, they're not yet detail-oriented enough. You have to watch films in cinemas for years to understand the depth and scope of vision needed in filmmaking. Directors in China usually come from an academic background; they graduate as film directors. Whereas the directors from Hong Kong learn their trade on sets, beginning at the lowest rung.

I am honored to serve on the Board of Visitors for Georgetown University's School of Foreign Service. Being the first board member from Latin America, I hope to provide insight into the economical, social and political issues facing the region, and continue to grow and strengthen this prestigious institution.

Working with actors really depends on the actor. Most of the directors I've worked with don't really know how to speak to actors, actually; some of the best directors don't.

Skysurfing is skydiving with a board on the feet. You can imagine with this big surface of a skysurfing board, there is a lot of force, a lot of power. Of course, I can use this power, for example, for nice spinning - we call it 'helicopter moves.'

Bollywood directors are like cricketers where in one match you score a century, and in the next match, you are out for a duck! Moreover, very few directors are consistent in Bollywood.

A political convention is after all not a meeting of a corporation's board of directors; it is a fiesta, a carnival, a pig-rooting, horse-snorting, band-playing, voice-screaming medieval get-together of greed, practical lust, compromised idealism, career-advancement, meeting, feud, vendetta, conciliation, of rabble-rousers, fist fights (as it used to be), embraces, drunks (again as it used to be) and collective rivers of animal sweat.

A surfer is poised on a wave on his board, cutting quickly to the left. He'll always be there, in that moment. He's never left it. He had no birth, he didn't go to school, he didn't purchase the board; none of those things ever were.

Sometimes I wish I had every different sort of board that I could just bring out for this surf when I feeling like surfing this board. I love riding old single fins and twin fins.

When I came to Mumbai, I was working behind the scenes for 10 long years. Back then, music video budgets were insignificant and I had no assistant directors or art directors for most of the songs I directed.

There were 31 teams that didn't think I was as good as the guys taken off the board. That's no disrespect to the talented players that they are, but I'm confident in my abilities and every time I go out there I want people to wonder why I wasn't on their board and why they didn't try to pick me up.

I've always wanted to work with the best directors. Directors lead you to the best material and thus the best actors.

My biggest advice for women writer/directors is to always be attempting to make work that avoids pandering to the conceptions that the industry has put in place for "women directors."

We must raise the salaries of our operators or they will all be taken from us, that is, all that are good for anything. You will recollect that, at the first meeting of the Board of Directors, I took the ground that 'it was our policy to make the office of operator desirable, to pay operators well and make their situation so agreeable that intelligent men and men of character will seek the place and dread to lose it.' I still think so, and, depend upon it, it is the soundest economy to act on this principle.

I really love New York, but I have to say, the humidity during the summer is a nightmare for a cartoonist. Not only am I sweating in my studio, my bristol board is curling up, the drafting tape is peeling off the board, my Rapidograph pens bleed the minute I put them to paper... it's a disaster.

I like bold directors. I like directors that go against the norm in a way.

Sometimes, the Censor Board is observed taking a lenient view with regard to certain explicit contents, which should be restricted, on screen. The board should be strict in curbing such contents.

The greatest thing about having done 'Orange' are the doors that have opened for me, and people have been able to see me, like the executives and the casting directors - also, all of the fantastic directors and writers for independent films.

Television can become a bit of a treadmill for directors. You come in, nobody knows you, the actors are already doing what they're doing, and you're just one of a number of directors who comes in.

I really have to give the Navy all the credit it deserves. They were so flexible and accommodating, given that everybody on board had better things to worry about than this person coming on board who's just going to be in the way, really.

The financial system has been turned over to the Federal Reserve Board. That Board administers the finance system by authority of a purely profiteering group. The system is Private, conducted for the sole purpose of obtaining the greatest possible profits from the use of other people's money.

In the earlier days, people used to be very emotional about making films. There used to be a great friendship between music directors and directors; today that is missing.

Stoller is one of my favorite comedic directors - one of my favorite directors that I've worked with to date.