Top 1200 Director Quotes & Sayings - Page 3

A big thing for me is trusting the director, so I don't need to watch playback. I feel like the director is gonna tell me whether it's right or not.

A bad audition is usually the director's fault, not the actor's. It's up to the director to get the atmosphere right to get the best out of your auditionees.

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.

The difference between being an actor and a director is simple. The director has to hide his panic; the actor doesn't.

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

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.

I want to get into the theater. I really wanted to be a theater director, but I turned out to be a movie director.

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.

You have to be very flexible and understand as a director, especially as a writer/director, that you cannot hang onto stuff really hard. You have to be ready to accept those happy accidents and to anticipate that they are going to happen and capitalize on them.

As a former Assistant Secretary of State, Senior Director on the National Security Council, and Washington Director for Human Rights Watch, I hope to bring unique experience and knowledge to the Foreign Affairs Committee.

A director is a director. We shouldn't categorize one into a this or that director.

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

I will never become a director or a movie producer. I was always looking at picture directing because I didn't know what to do! You can't be a movie director without real preparation.

I never went to school for directing. I studied theater with a director. I followed plays to see how a director would talk to the actors. I tried to make my own school.

When 'Humsafar' did well, every single person associated with it shined. Its DoP [Director of Photography], Shehzad Kashmiri, went on to become a huge director. So, a good and successful project just blesses everybody.

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.

If you're going to go to an audition, you don't want to go in trying to force yourself into some archetype that has been thought up by a director and translated by a casting director.

I never really saw myself as a comedy director, and I still don't. I see myself as a director.

'A Perfect Place' is character-driven. The director for that wanted a couple of identifiable themes with a bunch of variations. That is what I did. The director for 'The Solitude of Prime Numbers' did not want that at all.

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

As an actor, you've got to have faith in the director's vision, that the director has a vision for this that is greater than the critics say.

It's been clear for some time that FBI Director Comey has lost the confidence of Republicans, Democrats, and broader institutions, and his removal as FBI Director was probably overdue.

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.

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.

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.

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 like a director that encourages me to be playful. I don't really like being restricted or controlled by a director.

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.

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

I am aware that as an actor, I can blame others for the failure of a film, the director, the script, choice of co-stars, timing of the release and so on. But now, as the director, I will have to shoulder all the blame.

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

Sometimes the producer has more say and the director takes what he is given. On other occasions, you don't see the producer very much and the director is the one who it is all about.

One of the jobs of a director is to ask questions. One of the jobs of the director is to stand in for the audience until they get there.

If you understand the importance of developing a relationship with the director and making that director see that you're the best technical adviser and resource in the world on your subject, you'll be invited on set as a respected and integral part of the process.

I guess whatever the director's energy is is kind of contagious on set, because, um, you know, it's a hierarchy, and we're all kind of looking to the director for guidance.

I'm a huge fan of the director, Alejandro González Iñárritu, and his work, and I knew he was going to be an amazing actor's director, based on the performances that I saw in his movies.

An actor is only a part of the film, not the whole, and very often, he is moulded by the director. That is why a good director can make so much difference to a film.

One of the good things is the relationship between director and editor used to be more contentious. Studios used to leave directors alone more during the post production process and now they're clamoring to get in. So, the director and the editor end up teaming up sort of against the studio to fight what they're doing and you lose the creative tension that you used to have between an editor and a director.

I can tell you it makes a big difference to have a director who is collaborative. What motivates a character in my mind could be completely different from what the director's thinking. You have to have those conversations ahead of time and throughout the process. It affects the performance.

As a director, you need the Saul Zaentz type of producers. Zaentz was a guy who literally capped the storm outside of the director so that they could do their job. That's a great producer.

The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.

If you're a director and someone shows up and asks how I do it, I'd imagine, as a director, you're like, 'Man, I've got a million decisions to make; can you show up with an idea for the scene?'

I am proud to say I'm a director's composer. People do method acting, I do method composing. I like to get into the skin of the character and go deep into the director's vision.

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.

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

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.

A director is the captain of the ship; he gets the vision of the film much before anyone else can. While I want to experiment with characters, I know a good director means I am in safe hands.

For me, the most important thing is the writing - and certainly the director. But if the writing isn't there, it doesn't matter who the director is!

Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.

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.

When I'm in the studio, I write the music, I play the different instruments, I produce it, I arrange it, and it's a self-indulgent exercise. It's the way I make my music. And when I'm acting, I get to leave myself behind, which is a relief. I get to collaborate with a director; I respect the director's medium and all the actors and actresses. So at the end of the day, it's about a character and it's about a director's vision. It's a really good balance for being so intense and alone in my personal process of making music.

Each director is different. Clint Eastwood and Chris Nolan are completely different, and I need to adjust to the story and character and the director and just my duty as an actor.

No director wants to be directed, but no good director... would shy away from the good ideas of others.

The size of budgets does not alter my decision if I should do it. If there's a movie with a budget of only $1 million that I find interesting, then I'll sign up, but it has to be in the hands of a director who can do something with it. Ultimately, it's a director's medium.

I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.

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.

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

I was concerned about who he would put in there as FBI director because he had expressed antipathy for the FBI, for the director. I was going to stay there and make sure that he couldn't replace me.

I think you've got to talk to the director, see the director's films and recognise that it's important that the work fits right in and see if as part of the movie.

Loveleen Tandon, the casting director of 'Brick Lane,' understood my capacity and suggested my name to director Sarah Gavron. The film has such universal appeal that given a chance I would like to remake it in Hindi.