Top 1200 Good Director Quotes & Sayings - Page 10

I judge my film choices based on the director, and then I see how much the story has affected me when I read it or when I hear it in the narration. Then comes how important my role is in it, but primarily director, script, and then role.

Sometimes the best set experiences make for the worst films. So, you don't want it to be too good an experience! But the bulk of your life is working with people and collaborating so you don't want anyone to be miserable on your film either. You want it to be something that people walk away from saying that it was a good experience for them and hopefully a good film. As a director, you are sort of leader of that troupe for that period of time, so you're aware of morale and your effect - how you are as a person and how that sort of trickles down to everyone else.

I do panic when I'm out of work, and there have been long periods of that. And I'm not a good auditionee. I talk myself out of jobs in front of the director and suggest other people who would be better.

I don't think I could have made a good movie out of 'Thor 2' because I wasn't the right director. And I don't think I would have been in the running for 'Wonder Woman' as a result. And that's one of the reasons why I'm glad I didn't do it.

If we do change anything, we always talk about it beforehand. It's not really fair to throw things at the director on the day, unless it's a small note such as re-phrasing something. But if it's large, we always talk to the director. But we seldom do that out of respect for the writers because, for the most part, they do such a great job.

Theater is about interpretation and what an actor and what a director brings to a piece too. I'm open to it every time I work with a director and a group of actors. I have to be open to that interpretation. I'm not one of those hysterical playwrights that come and say, "This is not what I intended to do." It's one rendition of the piece.

And I think being a good director is being able to be completely tyrannical and you've got to be an absolute dictator while at the same time, you have to listen and see everything because it can all change on a dime.

A film is a film and it has to be good to be inspired. That's number one. It can be Italian, French, German, American. It's moving images in front of you and with a strong director who injects his point of view and artistry.

Looking back, the most challenging thing for me was actually directing. It's very tough. Being in front of the camera is easy since the director can tell me what to do. But being the director and giving people directions is the toughest thing for me.

It does not feel any different being directed by a first-timer as long as I am convinced that the director is passionate about the film he or she is making. If you get a sense of their vision for the film and their aesthetics of your performance, then it does not matter whether you work with a new or an experienced director.

When you get confidence from your director, as an actor, it is all a matter of how your director says, 'This is how much I can get out of you.'

I try to be as good a director as I possibly can. I try to be prepared, and I hope everyone else is. The preparation, I suppose, means just about everything. Little things mean a lot.

You shoot yourself in the foot when you think, 'We have to get a good scary movie director to do a script by another scary movie writer.'

I learned that as a director, you're around all these talented people, so you have this window that all these really good ideas can come in to help your movie, so you're crazy to close them. You need to be inspiring people, engaging people. There are lots of people who are really good at their jobs but might not know or feel like they want to come up to people and get them to participate and want to do their best.

I'd love to find a really good Brazilian project, an up and coming director or something. I wouldn't want to do the typical favela story, Brazilian cinema has a lot more to offer than just that.

Rahman is very very director friendly. He is ever ready to go whichever the director wants, the story wants, depending on the kind of movie or the music you want, and within that he finds his niche. It is a constantly complementary process. At the end of the day he is not pleasing you, he has to please himself.

Cinema is a director's medium; it's his story and his vision. If it's a good story, people will connect to it.

When I was younger I didn't really know what a director did: I knew I loved movies and I figured the actors made it up! And then when you get to 12 years old you start thinking, What does a director do? It was really an organic beginning: this looks like something I want to do, I can't believe people get paid to do it!

I had done drama at university, but I never thought I could be a director. There were so few female directors then. I just assumed you had to be a man to be a director. I also assumed you had to be extremely authoritarian and extremely intellectual, none of which I was.

With 'The Leftovers,' I was actually super, super lucky. It was my first major audition. When I came out, the casting director was kissing me on the face, and I was like, 'Oh, that's probably a good sign.'

If I find great material, or a great character, or a great director that wants to do something on TV, or whether it's in film, or whatever it is, man - as long as it's good, and on the level, I'm open to it.

I've made quite a number of movies like Castaway and a few others where I'm the only guy in the movie and the only place to be is right next to the camera in costume ready to go in order to get it. The years, and more specifically probably the four months prior to beginning shooting, is where the big preparation is that the director does because I knew we were going to get on the set. And the good news is, if you're the boss, if it ain't good, you don't use it. You just cut it out.

I love Rob Zombie. Rob's just a dude, you know? He's an artist, but he's a regular guy, down to earth. And he's a damned good director, too, and a lot of fun to work with.

I can think of a handful of auditions where the director has literally said, "That is the opposite of what I think." But it's really good to be honest and have that dialogue. I don't think you should be criticized though.

Be yourself. Forget about whether you are male or female and just work hard to become a director who truly knows her craft and the direction she wants the film to go. People respect a director for her work regardless of her gender.

I know what its like to direct. You become a more considerate actor. After you have directed, you understand what is going on. You can't help but think of the material as a director. You do come up with suggestions. You come up with shortcuts that you weren't aware of before. You try to be helpful to the director if he has a lot on his hands.

Whatever you do, whatever you come up with, whatever you decide on, you can go with it, and if the director or the execs, they like it, then you'll stick with it. That's a good thing, as opposed to having something that's already written.

To be an actor is to be ambiguous in every form, which is a very hard way to live. You represent desire: the desire of the director and the desire of the audience, even if it's a subconscious desire. If a director is to work with you for two months, he must be in love with you in some way or another.

You want to give the director what they want, and you don't always know exactly how it goes, so you want to try it a few different ways. You have to be flexible; you have to be in collaboration with the director; you have to be versatile. But you also want to be protective of what you really believe in and how you feel it should be portrayed.

The director is the most important because, ultimately, as an actor, when you watch a movie, it looks like an actor is giving a performance, and they kind of are. But, what's actually happening is that an actor has given a bunch of ingredients over to a director, who then constructs a performance. That's movie-making.

[Allied] got the attention of (director) Bob Zemeckis and Marion Cotillard. I'm glad I waited. If it had been made 15 years before, who knows how it would have looked, but it's got the best possible cast, director and everything. It's been fantastic. It was worth waiting.

That's how I am as a director - if somebody does a really good take, I can't help it, I'm not even aware of it. Actors really, really need positive reinforcement.

Rent Control was an interesting movie. It was directed by... I had done a couple of plays off Broadway, and this Italian director came, his name was Gian Luigi Polidoro, and he determined I was the person to play the lead in his low-budget comedy. He'd won an award at the Venice Film Festival, and... He was, y'know, a skilled director.

Whatever I was able to do with those experiences certainly contribute to whatever I'm able to do as a director. The corruption in that is that most of what I acted in the last 10 years was to steal film school time from these guys. Those were the people I thought I could learn from as a director.

Being on a set where the director has lost control is just sickening. No one goes the extra mile, there's a lot of eye-rolling... it just breeds inertia. If a director is in control, the crew follow their leader. But the second anyone senses the directors are not sure, people just swoop in.

It was a fabulous experience shooting [in the Aviator], working with Leo [DiCaprio] and Danny Huston in the scene. It was great. I think what was most eye-opening about it was that [Martin] Scorsese was just like any good director you work with.

Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.

I don't want people saying, 'Should we get a female director?' I want to hear, 'Should we get a great director for this movie?'

A good working relationship between an actor and the director is very important. It takes a while to build a comfort zone because filmmaking is a long process so it is important to connect with people you work with.

In Korea, the director has the final word. If the director makes a decision, that decision is final. In Hollywood, every decision needs to go through the producer, the studio, and sometimes even the main actor. There is a certain procedure that needs to be followed.

Director Omprakash Rao, who is known for making action films, has proved that he is equally good and adept at making comedy films as he is himself a comedian.

Guy Ritchie is the worst screenwriter in the world, but, to be fair, he is not the worst director. He is only the worst director of the people who actually get to make movies. As we speak, there are human beings walking the Earth - perhaps as many as a half dozen of them - with less directorial talent, but they've been safely diverted into other activities.

I think a good director can embrace any genre and it's the kind of thing where you always want to do something different. You always want to challenge yourself.

I was amazed by how much you have to think about as a director. As an actor, you don't have to think about much at all, as it turns out. It's very easy. And then when you step into the director's role, there's this whole universe of stuff that you have to pay attention to that's amazing to me.

I don't care if you hate me or if you like me, as long as somebody gives me a character that is really a character to play. It's fun to be able to have a character and have a director that can direct you into a character. I'm just so happy that I got a good role. I don't care if it's bad or if it's good, and I don't care if it's drama or comedy. They are just so rare to come across.

For me, the greatest kind of success that I've had on a particular project or in exploring a role does come through collaboration. I wouldn't want to do a movie where everything I do the director just says, "Good job" and I'm under directed.

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.

My strength, if it's anything, is that I can lure some big-name actors in. That's probably the strength of almost any director now. On your own, as a director, you've only got so much weight. James Cameron, George Lucas, Steven Spielberg, Michael Bay... that's about it. Everybody else depends on the star power that they can draw.

I always try to develop a good relationship with the director on any film and make sure that we want the same things and we're talking about the same ideas, and that gives me great protection.

To me, 'director's cut' means that what was released before was somebody else's cut. That, to me, always implies that what was released wasn't what the director wanted.

'Strong Island' has been a labor of love and dedication on the part of so many people, that it's just an incredible recognition to be honored. And to be the first trans director - and, I believe, the first African-American trans director - to be nominated for an Academy Award is incredibly, incredibly special to me.

Every new director you work with, brings in something new and has perhaps cast you because your last work was good.

And I think being a good director is being able to be completely tyrannical and you?ve got to be an absolute dictator while at the same time, you have to listen and see everything because it can all change on a dime.

Being on a set where the director has lost control is just sickening. No one goes the extra mile, theres a lot of eye-rolling... it just breeds inertia. If a director is in control, the crew follow their leader. But the second anyone senses the directors are not sure, people just swoop in.

A disk unbeknownst to the director can go to the producer in another city or in another office and that producer can edit behind the director's back much easier than in the old days. Since these dailies are now put on videotape, more kinds of people have access to dailies.

Just someone trying to shoot in 70mm deserves the nomination, and he[Quentin Tarantino] is shooting interiors, like tight interior shots, for that matter. Obviously [Quentin] is the director and demanding the shots, but all credit for the beauty of that film [Hateful Eight] goes to the director of photography.

I do think it's a very good way to describe what a great actor does. You're both acknowledging the authority of the director and the necessity of the actor to push back and find their own voice.

You will never see'Altman's Great Film of the Seventies: The Director's Cut' because you have never seen a film of mine that wasn't the director's cut. I have never permitted it.

I grew up in Texas City, Texas. I didn't know anybody who was a director or whose parents or grandparents were directors. I met somebody from a nearby town one time whose father had been to the moon - it was far more likely to be an astronaut than it was to be a writer or a director.

I thought I'd become a funeral director when I wasn't going to be an actor. I thought I would be good at helping some people with the grieving process and with trying to get them to talk about and understand who this person was.