Top 1200 Board Of Directors Quotes & Sayings - Page 4

I always feel like I learn more from directors that are new, and I also am able to understand how much I really do know about filmmaking when you work with directors that maybe don't have as much experience, so you're able to sort of take the reins. I know how to do these movies, I've done so many of them and have learned from new directors who are usually willing to try new things and are more open to allowing someone like me to kind of come in and just do what I know how to do.

When I came to the industry, many directors like Krishna Vamsi and Puri Jagannath had encouraged me a lot. Krishna Vamsi is my mentor, and I admire him. That's why I give chances to new directors.

I worked with young directors all my life, only young directors.

The key is you don't want to control the controlled stuff too much and you don't want to be too free flowing in uncontrolled situations. That can be a contentious issue with some directors. The joy of my career is I've gotten to work with great directors who get that balance.

It's turned into a world of amateurs. There are amateur actors making millions of dollars, amateur cinematographers, amateur directors... Jesus, these amateur directors can get deals for anything. Another comic book? Oh, very good.

Hmm, can I be obvious and say there is probably a double standard for male vs. female directors? Sadly, I think that's actually the case. And it probably stems from the fact that there are proportionately so many fewer women directors than men ones that each project is perhaps more closely scrutinized for its content.

A lot of new American directors have had mentors who have given them advice. And some of them have had the way paved for them by huge Hollywood directors who saw a younger version of themselves.

There are many directors in the middle range who've made mostly successful pictures, and then there are a few great directors who've had some successes and some failures. I suppose my life would be smoother if I wasn't almost totally enamored of the latter category.

Well, 45-odd years of doing it, so we all pile up the things we like about directors and the things we don't like about directors. And sometimes they're very similar.

I filed the MSRB Reform Act, along with Sens. Elizabeth Warren and Doug Jones, because the board that oversees the muni-bond market is too secretive and too incestuous. Its membership shares the same DNA. That means the rulebook for municipal bonds is in the hands of a board that resembles a revolving door of longtime industry confederates.

I've read a hundred fantastic scripts that didn't pan out as films, and I completely put that on the directors. I've also read some mediocre scripts that have ended up being amazing, and I credit that to the directors. They're the storytellers. If you don't have a good storyteller, you really have nothing.

I really do think you lose the audition on the first ten seconds. I think you walk in, the casting directors and the producers and the directors have a real definite feeling of what they're going for, and if you don't look like it, it's pretty much done. Your acting is basically a bonus.

I don't care what your nose says! The last time you smelled half-blood, it turned out to be a meatloaf sandwich!" "Meatloaf sandwiches are good! But this is a half-blood scent, I swear. They are on board!" "Bah, your brain isn't on board!

The single most damaging misconception about strategy is that it is a set of financial performance goals. The so-called "strategies" created by many managements are nothing more than three-to-five year financial performance forecasts. They are then labeled "strategy" and shipped off to the board of directors which goes through the motions of discussing how big the numbers are. Strategy is not your aspirations. Strategy is concerned with how you will arrange your actions and resources to punch through the challenges you face.

We need strong school board members who know right from wrong. The Bible, being the only true source of right and wrong, should be the guide of board members. Only godly Christians can truly qualify for this critically important position.

I do like to work with young directors because it's such a difficult business that I think after directors have been around a while sometimes, not always, but sometimes their passion gets siphoned off because they get hurt.

Being known as a writer did change the relationships I had with directors. The rap on actors is that they always want to inflate their parts. But when directors know you write screenplays and have a different view of things, you really get invited into the huddle in a much fuller way. And those collaborations end in friendships.

When I was first elected to the Colorado State Board of Education in 2000, we had to carry a big binder filled with hundreds of pages to every meeting. By 2004, the State Board had gone paperless. We even persuaded the less-tech-savvy members to use laptops to pull up their information during meetings.

What worries me are these so-called radio stations with program directors who don't play all the different flavors of hip-hop. They should play the old with the new, 24/7, 365 days a year. A lot of these program directors are just jiving around and not playing all the good music for the people.

I will say that is a quality I love about great directors, which is the ability to give you one word that can inspire you. I appreciate a director with a very good vocabulary. There are so many directors that I have worked with that can give you one word.

They'll try to apply the rules of the day to the game, where you can't touch your board with your hands, or you can't step off your board, etc and I want nothing to do with it. It's like a game from a different planet or something and it's hard for me to relate to anybody who would think of skateboarding in such a narrow way.

I chose Bagdasarian Productions when I heard from some colleagues at work who were buying story boards at the time back in the early '90. I met the man once when I came in with the first half of the story board and the only thing he said when looking at the first half of the board was, "It's so nice to see someone using their imagination."

I don't plan, because everything goes against my plans anyways. There's absolutely no point in planning anything. I'm just enjoying the moment. I'm meeting with a whole lot of people - casting directors, directors, agents. I have things going on everywhere, but I have no solid plans.

As a director, you never get to watch other directors work, and you also don't get to collaborate with other directors that much.

The key reason executives are paid so much now is that they appoint the members of the corporate board that determines their compensation and control many of the perks that board members count on. So it's not the invisible hand of the market that leads to those monumental executive incomes; it's the invisible handshake in the boardroom.

Great directors turn in mediocre work and first-time directors turn in exceptional work. No matter how good a person can talk about what he wants, you never know.

I would say that maybe directors who act as well are easier with actors. I'm not saying that all directors have this, but sometimes you'll come across a director who sort of looks at an actor a bit like a kind of untrained horse that's been let out of the stable, like they might buck him.

There`s only one list that`s more illustrious than the list of directors who won the Palme d`Or. It`s the list of directors who didn`t.

Often, entrepreneurs don't build a board until they are forced to by their VCs when they raise their first financing round. This is dumb, as you are missing the opportunity to add at least one person to the team who - as a board member - can help you navigate the early process of building your company and raising that first round.

But, working with directors whose history is in performance, I feel like there's a different kind of focus, as opposed to directors who are more prone to being really technically proficient or visual. I feel like there are two schools of both, and a director needs to have both.

But on this show, it's a good question because in the 35 shows that we've done now, I've really made a consistent effort to really shadow the directors because in many ways they have to be more prepared than feature directors.

Some directors are very free and some directors are very specific. It seemed like doing a play.

I've talked to a lot of directors who direct solo like most directors. And they're always like, 'Oh, man I wish I had somebody I could direct with because it's a lot of work.'

I think the best directors rarely loose their temper. I think the best directors provide you with a safe environment where they can instill you with confidence and allow you to try things out and not feel like your failing or that you're doing it wrong.

Some directors are really strong on action, manhandling you around the set; others are very focused on setting up the camera shots and practically ignore you. You have to get used to introverts, extroverts, directors who clown around for the crew, and the odd one who's monosyllabic.

I'm in a different position than most CEO's. I'm a founder. I'm not a hired CEO. Now, I can be fired by the board, but most CEO's are hired by the board.

I've worked with David Lynch since I was 17, and working with him is home and family; being around Alexander Payne is home and family, Jonathan Demme. There are directors... Robert Altman, Paul Thomas Anderson... They are directors where I create homes.

Ambassador Kennedy brings to the Boeing board professional, diplomatic, and global perspectives that are highly valued in our rapidly evolving and increasingly competitive global business environment. Her diversity of experience and accompanying insights will broaden and strengthen our board in its deliberative and oversight roles for the company.

Lots are written about how 'she shows up at board meetings in the saree.' My God, I have never worn a saree to board meetings; people play it out in different ways. I think I have never shied away from the fact that I am an Indian, and I don't intend to, but you can be at home with both cultures.

Obama's a great speaker. Because of his speaking ability and his appearance, a lot of guys got on board. Being the first African American, a lot guys got on board.

My dad got me a huge board when I was little. He loves to surf. He suited me up and sent me out on this huge wave. I went under, and when I came out and the board hit me in the face. So I said, I never wanted to do this again. I stayed away until I was 13.

As actors, we have the opportunity to work with many directors. Directors only work with themselves and other actors. They never know what it is like to work with another director. So that relationship that one has with a director is entirely always the king.

Searching out directors you respect and that you can learn from that's always the dream. That's the goal. That's hopefully where this whole thing is leading, and what better way to learn about directing and learn about what works and what I like and what resonates me than by working with a bunch of great directors.

Board meetings should not be for the benefit of the board. They should be for the benefit of the CEO and the senior team.

The director's who want to be innovative use the DVD as a tool to see what people have done in the past and you have other people who will actually take from better directors and that makes them better directors.

We are absolutely open to working with outside directors. But the criteria for working with outside directors would be the script they have, the kind of vision they have.

History has a way of coming back to you. In the case of Janis Joplin appearing at the festival in 1968, her performance affected the life of a Bostonian who is now a member of the Newport Festivals Foundation Board of Directors. Ward Mooney was so affected and emotionally involved in Janis’ performance at Newport, that when he heard the festival was going nonprofit, he knew wanted to become a part. Janis was beautiful, gracious and respectful, and the power of her Newport performance continues to live on.

I've turned down good directors before because I knew the part didn't speak to me and I've worked with less talented directors before because the part I had such passion for.

There's good directors and bad directors. Some of the critics are really conscientious and really try to do what they can popularize the work or to explain the work and so on. And then there's the critics who just wants to make a reputation by attacking. Those are the ones I'm not keen on.

The editorial board, who endorses candidates, is totally separate from the news side of the business. We don't consult one another. They have one job to do, we have a totally different one to do. So whether the Washington Post editorial board endorses Donald Trump or Hillary Clinton is meaningless to me.

People are mystified by it and so they kind of think, the acting community thinks they're gonna be replaced by CG characters and animators think they're gonna be replaced by performance capture (and) a lot of directors, particularly European directors, who have no experience of it.

Both the Oblation Board and the Specters of Indifference are bewitched by this truth about human beings: that innocence is different from experience. The Oblation Board fears and hates Dust, and the Specters feast on it, but it's Dust both of them are obsessed by.

When the founder of World Energy Solutions Inc. assembled his first board in 2000, it consisted of nine investors and friends. The group met quarterly, generally affirming Domaleski's every action. But the Worcester, Mass., company, which auctions electricity and gas credits, lacked customers and financing. It needed more from its board to survive.

I've always thought that as long as directors and casting directors don't see me as just Harry Potter, I'll be OK. People have shown a lot of faith in me, and I owe them a huge debt. They're letting me prove that I'm serious about this.

I like to work with talented people, I must say that. That's my weakness. I really like to work with good directors. That doesn't mean I don't like to work with starting up young directors, that's fun also.

I would love to see more women directors because they represent half of the population - and gave birth to the whole world. Without them writing and being directors, the rest of us are not going to know the whole story.

During the years I was on the board of directors of the National Organization for Women in New York City, the most resistant audiences I ever faced in the process of doing corporate workshops on equality in the workplace were not male executives - they were the wives of male executives. As long as her income came from her husband, she was not feeling generous when affirmative action let another woman have a head start vying for her husband's (her) income.

I enjoyed working with all my directors. I may have done more films with certain directors, but it doesn't mean I enjoyed working more with them and less with others.

Actually, I met a lot of directors and most of them have that fantasy to make a silent movie because for directors it's the purest way to tell a story. It's about creating images that tell a story and you don't need dialogue for that.

Some directors can tell stories and it becomes very intimate and small, and it's almost like a secret. Some directors have the gift of finding a way to show it and tell the story, in a way that brings in the audience.