Top 1200 Good Director Quotes & Sayings - Page 4

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.

In the movies, you want a good story and characters that are honest, but you are also looking for a good director who can lead the ship. That's how we look at business. Everybody has a great idea for a start-up, and so do their relatives, and they tell me, 'You gotta build it.' I say, 'I have to believe in it.'

Due to God's grace and a good director, I became successful.

I don't care about names attached to the script. That doesn't matter to me. All things being equal, I would like to work with a good script with a good director, and the part I play is of less important than those two factors.

Any good director, and I've worked with a few that I would call very good, they know how to disarm any anxieties very quickly.

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

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.

It was wonderful working with Kundan Shah. He is a very good director.

A musical is only as good as its director. The same can also be said for the CIA.

It's fun to do something funny and have the director laughing. It makes you feel good.

It's incredibly easy as a director to be egotistical. Of course, it is because you have 200 people on set every day listening to your every word and whatever you say goes, and that can be slightly corrupting. And actually, to be a good director, you have to take ego out of it, because hopefully what you've done is surrounded yourself with brilliant people. Let them be brilliant and you just shepherd that and marshal that and hopefully guide it however you can, but definitely not to the extent that you're overbearing.

It feels good to be able to work with a director and actors I've admired.

With good content, a solid director can make a film without a superstar.

I'm a huge fan of director's cuts or reassemblies if they're good, but I remember being really excited about the restored version of Apocalypse Now, and then I preferred the original film. Kingdom of Heaven as a director's cut is the real picture, but in fact someone recently told me that there was another cut, the original first cut, which he said was just extraordinary. I've never seen it - and of course now I want to, if it exists, and so would everybody else.

As director of the CDC, one of the best parts of my job is announcing good news.

I've seen what a difference a good director can make to an actor's performance.

That was okay [ working with George Clooney]. One of these days I'll work with a good director.

I think that it helps that I have acted. That said, it doesn't mean you're going to be a good director.

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.

The combo of a great story and good director works for me.

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.

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.

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.

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.

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

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.

I don't need a director who's 'good with actors.'...A master manipulator is heaven.

Working with Ravi Shastri as Team Director was a good experience.

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.

Being a good director is knowing sometimes when not to say something.

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.

I always want to work with a good director who's backed by excellent producers.

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.

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.

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.

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.

The smartest thing a director can do is surround himself with really good people.

A good [film] director is talented, imaginative, and does his homework.

Give me a good script, and I'll be a hundred times better as a director.

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.

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.

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've always had good relationships with directors. I'm one of those people where, if there's a good idea coming from the sound guy, I'll take it. Filmmaking is a collaborative effort, whether it's a first-time director or it's Mike Nichols. I think that's the standard that the great ones set.

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.

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.

Film is such a director's medium; you're really in their hands in terms of the real storytelling. As an actor, you can give a performance moment to moment and some of your takes will be used and some of them won't. I think there are great films you can make with bad performances, and vice versa. There are all combinations of those things. It's really down to the director what happens, I think, so that's why it's really good to work with very talented, bold directors.

There are directors that I want to work with and that I admire. You can love a script, but if it doesn't have a good director, it won't be that.

As an actor and a director, I always let my actors go... assuming they have good ideas.

Judd Apatow is pretty good, both as a producer and as a director.

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

A good director has to be a captain - he has to work with a lot of people every day.

When I see a short schedule, my question to the director is, are you really comfortable with this, or are you doing it to be a good boy? At the end, you only win the medal if the film is good, you don't win a medal if the movie is on time.

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.

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

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

It's important that the director and actor have good chemistry, and not just the actors.

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.

Despite being such a brilliant director, Hansal Mehta is a simple and down to earth man. He is very sorted and driven by passion. So that's a rare combination - being a good craftsman and a good human being.

I will continue to work with newbies as long as the script and the director are good.