Top 1200 Director Quotes & Sayings - Page 2

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.

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.

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 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.

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.

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.

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

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

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.

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.

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.

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

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 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.

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.

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.

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.

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.

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.

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.

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

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.

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

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."

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 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 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.

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

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.

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.

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.

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.

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).

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.

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.

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.

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 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.

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.

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 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.

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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 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.

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.