Top 1200 Good Director Quotes & Sayings - Page 2

When I choose a script I look for a good storyline, there should be good supporting star cast, director and banner as it helps in getting a decent release.

If I get a good character, a suitable role, a good producer-director, only then will I do a film.

For me, it's important that the script is good. Then a good director will want to make it.

To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.

I like to audition for good projects because if it's a good project, it's an opportunity to get in front of a casting director.

I'm just trying to find a good project. Work with a good director, someone I really admire. Find a good role.

'Analyze This' is a good movie because Robert De Niro and Billy Crystal are really good. But without the material to put on the play, of course, they couldn't be good. For me, it starts with the writing. I always think that the writer is doing the vast majority of the director's work, in a sense.

I think the mark of a good director is that they surround themselves with good people.

Independent means one thing to me: It means that regardless of the source of financing, the director's voice is extremely present. It's such a pretentious term, but it's auteurist cinema. Director-driven, personal, auteurist... Whatever word you want. It's where you feel the director, not a machine, at work. It doesn't matter where the money comes from. It matters how much freedom the director has to work with his or her team. That's how I personally define independent movies.

It's more fun to play a good character with a good director and good actors around you. That's what makes it fun, and the more variety, the better.

I depend on good editors and a good director.

I think to be a good director you have to be a good person and you have to care about people.

If I get lucky and I can choose, I would always choose a really good story and screenplay, even if I don't know the director. If there's a good screenplay, there's a chance that something good is going to happen.

If the project has good writing and is something I get excited about, then I'll do the role. And if it's for TV, I'll ask myself, 'Is it a show that I'd watch?' If it's a play or movie, I'll want to know if there's a good director attached.

Nepotism can be one of the factors that affected the industry in the past, but today, what matters is good content, talented artists and good sound. That's what every music label, director or producer is looking for.

If the script is good, the cast and director good, I'll go anywhere.

I think 'director' is a very broad term. I like to think of myself as the head collaborator, not the director, because I think, for a lot of people, 'director' connotes giving orders and telling people what to do.

I have an association that director means total authority. Director means they will never let you down. Director means just trust them and fulfill their vision, and know that the story will be told in its best incarnation.

A good script and a good brief from the director is enough to let me know what is expected of me.

There's a paraphrase about Orson Welles saying: "Great films are made by great directors and the rest are made by everyone else." I've been very lucky... before I start insulting the profession of directing, but I think a good director is everything and a bad director really is nothing at all.

I think comedy is very easy. Its all in the writing. If the writing is good and you have good director it is good.

The thrill of doing 'Good People' is I love those kinds of stories, and I'm good at them, and it's wonderful to see that material given to a terrific director and a terrific cast.

I think acting helps me as a director no matter what. There is something about being reminded about the vulnerability it takes to be an actor and what I'm really asking of actors every day when I'm on set as a director that I think it's a really good reminder.

As an actor, I just go off the director. I never ask how big the part is. I don't look at it from the perspective of, 'Is this going to be good for my career?' I just look for directors, and I think part of that is I knew I always wanted to be a director.

There was a choice of being a director who's more familiar with the technicality of doing a movie, like learning about the camera and filters and setup, or being a director who can actually talk to actors. And I always wanted to be an actor's director.

I think Tom Frieden, the CDC director, is a good man, is a good doctor and, I think, basically has done a good job.

To be a great director, what does it mean exactly? It's not only about a great director, but also about being able to rely on the very special chemistry that goes between them. It not only has to be a great director, but the great director has to make his relationship to you, the actor, very special.

If the packaging is good - the actors, director and producer - then it will work, even if the product is not good.

I did a Norwegian film called 'Insomnia' that was remade and that was a good remake by a good director, so I'm honoured.

I'm just saying to everyone. The director does not direct the trailer. It's an edited version that takes so many moments of the movie, sometimes it's not even in the movie. The director does the movie. So don't judge the director based on the trailer. Please.

In Hong Kong, in our generation that started out in the 1970s, being a director wasn't a big deal. We didn't even have director's chairs. We weren't particularly well paid. The social standing of a film director wasn't that high. It was a sort of a plebeian job, a second or third grade one. And the studio heads are always practical, there's never any fawning because someone is a director. There's very little snobbery about one's position as a director. The only ones people treated differently were those that were also stars; or the directors who also owned their companies.

I only travel to good material, a good director and a good company. I won't work in another country for a year any longer, because I have a lovely wife and I adore her and I can't bear to be away from her.

When you trust the director you want to trust his or her choices. I don't want to say, 'No, I don't like this girl or that guy," when the director really loves them. No, you want to go with what the director likes.

With most good scripts and good shows, they expect the actor to bring some of their ideas to the backstory of the character. It's always a good collaboration between the actor and the writer and the director to try stuff out during the process.

I depend on good editors and a good director. It's up to the way they shoot it, the lighting and all that. I like how small you can be on TV.

Good is the director who lets you do what you have to do.

I think the whole nostalgia for the forty year gap for [Sylvester] Stallone was bigger than the movie [Creed], but it's good because the movie still gets recognized with Stallone's involvement. I'm sure the director [Ryan Coogler] is still proud of his film, but it's very hard to nominate a director.

I think a good director is a good listener.

Mel is a great director because he's not just a director, he's an actor, so he knows how to direct actors. I loved working with him. He's great as a director. He's so intelligent. He's generous. I really loved him.

An actor puts himself in the hands of a director. And the director's first responsibility, obviously, is to tell the story, but the smallest thing that's not true reads on the screen. So if a director sees that an actor is not believable, he needs to help him become believable.

Think of anger as a muscle. The way you express anger isn't the way that I do, or you. If you have a good director, you will find that he's getting you to use an entirely different muscle that you never even knew you had - it's real hard and sore, then after a while it becomes normal. And you discover all these new muscles when you enter a new character - that's what a director does for you.

A lot of times I don't know if I trust the director to tell that film's story. Or I think it's inappropriate for a male director to tell a female story, or a white director to tell a black story. Everyone walks away from a movie differently, because you're relating it to your own life.

You either are a good director or you're not.

A director is a director is a director. Man or woman - it doesn't matter.

The secret is to get a good cinematographer and a very good assistant director. If you get those and stay out of their way, and have good actresses, the script doesn't even have to be that extraordinary.

Any director who comes into a revival owes a great deal to the original director. If I know the backbone works, it gives me, as a director, much more freedom to bring something new to it or try something different.

If you have a script that's not great, if you have a great director, you can make a great movie, but if you have a great script with a director who's not good, never are you going to have a good movie.

Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.

A good director is like a good coach. You want to play for him. You want to really show him your good stuff. You don't want to let that person down. Ridley Scott is one of those guys.

More often than not, if you've got a good director and a good script you can't really go wrong.

I like working with a first time director. I'm more likely to work with a first time director than I am a second time director.

My tendency as an actor was to correct people, was to say, 'What if we tried it this way, what about if we tried that way?' That's terrible habit for an actor, but that's a good habit for director. So I became a director.

You have to be talentedly insecure in order to be a good actress. And then it's the director's job to make you more miserable and get a good take.

To be a good director, you have to have good life experience. I'm getting there.

I guess people feel that if you're working with good directors and are known in the Hindi film industry, then you won't work in South films. However, I believe that films have no boundaries of language, religion, or cast. If it's a good script and a good director, I can do a film in Spanish as well.

I started out as an assistant to a director on two movies, Miguel Arteta. The movies I worked on were 'Chuck and Buck' and 'The Good Girl.' I didn't even know I wanted to be a director until I started working with Miguel.

I think that for the actors, the last thing that they want is a director that's not watching, a director that goes 'Okay, it sounded good to me,' and they were doing something else or preoccupied with something else because they were worried about the light changing.

I'm really open to anything that's good. If I read something and it's good, and I like the director, it never really needs to be a specific type of character.

You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie!

I pick different projects for different reasons. Usually, it's a combination of things. I admire the director, and I am interested in working with the director. Or, it's the cast. I can be moved by the story. The ideal situation is you love the director and you love the cast.