Top 1200 Good Director Quotes & Sayings - Page 7

I got good recognition in the industry after working for 'Kandireega'. I traveled with director Santosh Srinivas right from the scripting stage for that film.

We were doing Scarface many years ago...and I remember having my coffee and looking at the beach, the surf, and I saw a hundred people looking out into the ocean. I thought, what's going on? Did some whale get washed up to shore? So I stood up on the table to see what it was, and it was the director, Brian De Palma, standing there alone by the surf and they were all waiting for him. And I never forgot that because it represented to me what a director is, what a director does.

In 1952, I was appointed Professor at the University of Bonn and Director of the Physics Institute, with very good students waiting for a thesis advisor.

Snow Cake is a lovely film. Really proud of that. We shot it in 21 days. I thought Sigourney was amazing in it. And very, very accurate. I think there was some element that thought she had pushed it too far. But not at all when you do the amount of homework she had done and spent the amount of time she did with adult autistics. She was right on the money. And I think Marc Evans is a terrific director. He's a sweet, open, honest man and a really good director of actors.

I share a very good rapport with Shah Rukh, so I was at ease working with him, and Imtiaz is a dream director for any actor.

As an actor, we can only do what the director wants. Only the director has a vision of the entire film.

I thoroughly enjoyed shooting for 'Velaikkaran,' and I made a great friend in Sivakarthikeyan during the process. Also, it was wonderful working with director Mohan Raja. I have not seen a director who takes so much effort to get things the best way possible.

Maybe if we sit out for the next few years and let Clint Eastwood get a little experience, he's going to be a good director.

Language does not matter to audience if content is good. It is the director's belief which is translated on screen and roles are written according to his imagination.

I think that the most important thing for me is, how is the character that I would be reading for? Is it interesting? Is there stuff to do? Are there things that you can do with the character? How can you play it out? Just those kinds of things that are very important for an actor. Also, a good director and good dialogue.

Everybody sees things their own way, but putting it onscreen is a different story - you have to deal with production crews. That's what differentiates a good director.

I think the writer's quite low down in the hierarchy really. But the fact that they took the piss out of Nicholas [Hynter] who, besides being the director, is also director of the National Theatre is, I'd have thought, slightly more risky.

J.J. Abrams is a director with no ego. He is a director who has a very consistent attitude when he's at work. He's funny, he's brilliant, he's a combination of all these really great things. J.J. is the kind of person who sees the bigger picture before anybody else does. It sounds simple but not all directors do that.

I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.

I was taking hitting clinics every chance I got. I really worked on it. It was just fun to be given that invitation from the director to make the baseball as good as we can.

When you can find a strong character and a director that does want to protect the integrity of all characters, female and male, then you have a good deal.

A casting director who'd cast me in 'Assassins' sent a video to Kevin Reynolds, the director, and Mel Gibson, whose company is producing '187.' Then I went in and auditioned, and a few hours later, they called me.

Actors always direct themselves. A good actor shows up onset ready, especially in television, and you've done your homework and you know your character. The director may have some variation on what you're thinking or they may have a different interpretation of the scene. So you come prepared to shoot and you've given yourself notes. In television, it may be the first time you're meeting this director and you've been living in this character's skin for a couple of years. It's always great to have fresh perspective and fresh insight, but no one knows your character better than you do.

When I became a choreographer, I was not assisting any choreographer. I was assisting the director Mansoor Ali Khan for 'Jo Jeeta Wohi Sikandar.' I was the fourth assistant director.

I don't need to work right away. I'd rather wait for something really good; to be excited about a role, or a director, or a project.

I didn't have a burning desire to be a writer or director - writer probably more so, certainly not a director.

After reading the script I ask the director about my character's background, what does he do, how he walks, talks, what clothes he wears... I ask the director how he is looking at it.

As a director, my job is, and always has been, divided into a number of things: dealing with the crew, the money and the studio, and the marketing and publicity. These are all different jobs that have to be learned and done as well as possible. The celebrity part rarely touches a director.

For me, the French new wave is Truffaut and Rohmer. Godard I sometimes have trouble with because he's very much of a director's director. I feel Truffaut is such a humanist, and I always go in that direction.

So, it becomes an exercise in futility if you write something that does not express the film as the director wishes. It's still their ball game. It's their show. I think any successful composer learns how to dance around the director's impulses.

Tobin Bell wasn't obligated to do the second Saw film but he wanted to. I think they brought me into this film because there's a first time director, and my reputation is one of an actor who's there for the betterment of the project. I'm not there to better myself. I'm there to bring all my resources to the project to make it as good as it can be. In the end, that makes everyone look good.

Alex Zamm is probably the most talented director I've ever worked with. He is so good at working with actors and crew and setting up his shots.

I always used to say, as a director, that I could make anybody good in a movie if you found the right part. It all comes down to casting.

A director can come from anywhere, but having a story background, if you have nothing else, is probably a good thing to have because it's really the one tool you need.

For me, it's not like I am going to look at the money the director's film has made before their film... For me, it is about working with the director whose work I have admired.

When I was approached to remake 'Vinnaithandi Varuvaaya,' I felt that it was a good way to reach out to a wider audience, every director wants that.

Even though I studied in New York and I know the American system, I come from France where I learned that with movies in France where the director is king. There's no such thing as a studio edit. It's the director's cut, period.

Hours is an understatement. I honestly don't know how the director and editor decide each week what actually makes it on the air. There's of course director and cast commentary on each episode on the DVD. We had a blast recording that.

It's interesting in seeing when I'm talking to men in particular and telling them I'm an actress versus a director and the different turn the conversation will take when I say I'm a director. The level of respect is very interesting.

In creating music you are the writer, the director, the producer, you create it from scratch. Obviously in playing a role in a film, you take guidance and put your trust into the director. You come into it and you really trust people.

We haven't seen a situation where you have the FBI director talk about an investigation side by side with the attorney general who confirms, yes, I accept the recommendation of the FBI director.

Actually, my career as a music director turned out to be a disappointment. I believed I gave good songs but the response and recognition from the industry was not great.

What a good actor brings to a script is something, sometimes, even directors can't imagine. The director should always have the last say though.

I don't care how big a director is; if I hear that he's miserable to work with, I'm not going to do it. I'm not gonna be in misery for two months because it's a good career move.

I feel that the critic and music director should have such a good relationship they can pick up the phone and call each other any time.

I've always thought Ed Burns was a profoundly underrated actor. He's a great director, obviously. A great director/writer. But I think he's a stunning actor, too.

In Hollywood there's no real material. They would send me stuff, but I hadn't even seen the director. If I don't see the director's eyes, I'm not going. I'm not even going to pack my bags.

Live-action films are very much a director's medium, and that director is going to be a very strong voice, a stronger individual voice than you'd have in animation.

My dad is a successful television producer, director and writer and my mom's a director and writer.

Every relationship should eventually become a long-term relationship. Any director that I meet now isn't just a director. He's potentially a friend, and someone I can call to do a project that I want or that I have.

I'm doing my best. I read in the paper that I'm an action director. They always say that, "Action director Walter Hill", if they bother writing about me at all. I think that's fine. I'm happy to do the work.

First, you have to be intelligent. I have never met a successful director who isn't intelligent. A director who is not intelligent might have one hit picture, but he won't be able to follow it up. So I look for intelligence.

I thought I was depressed because I wasn't a writer/director. I moved into a space where I'm a writer/director, my movie is a hit at Sundance, I have a wonderful, loving boyfriend, and wow, I have financial stability. Why can't I get out of bed still?

I had a really good time working with Jim Cameron. A lot of people didn't, but I did as I got on with him really quite well. For a director who spends most of his time looking down a lens or in the digitisation studio or working out some graphics, he is actually very good with actors.

I think when you have some success as a kid, your notion of being a good actor is pleasing the director, doing exactly what they tell you to do.

A writer/director is a tough thing to gauge when someone hasn't directed a movie before. You just don't know. Sometimes it will be a great script that's written beautifully, and then the director who has also written it does not have the facility to translate it.

You never learn to act in front of a camera. You never learn anything in front of a camera. But you learn to act in a rehearsal room with a good play and a good cast and a good director.

I don't recall a show I've ever been on that had the same director do two episodes in a row, but in England, they do it all the time. In England, they'll just have one director for eight episodes. That was the British system that Jane Tranter and Julie Gardner wanted to bring to the States. I think there was a nice merger of the two systems. They might have gone with one director, but John had obligations on The Village, and he had to leave and come back, so it seemed like a natural place to break it up.

In some instances, I would say the writer does deserve equal billing with the director. In other instances the director - especially if he wrote part of the script himself - is clearly more the author of the movie.

I think I am a good actor myself. If I wasn't a director, I would have been an actor.

It's really hard to make a good film; it's really, really hard. So, the director's very important, and a character that can be described with more than one or two adjectives, maybe with contradictions. Contradictions are always good because that's truthful.

I'm not a pyrotechnical director; I'm not good with all those innovative things. What I am interested in is how actors can touch the heads and hearts of an audience.

If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.

A good director is very well prepared, and knows exactly how he's going to cut the film, so the shooting is as efficient as possible.

If someone, a director, tries to tell me the way to do something, I'm not good at adapting. I need time to go away and think about things.