Top 1200 Good Directors Quotes & Sayings

I love to tell stories and I love to work with directors and I think I write really visually, which I think directors like, and I love making movies, so I found something that I'm good at and I'm really happy doing.

It's turned into a world of amateurs. There are amateur actors making millions of dollars, amateur cinematographers, amateur directors... Jesus, these amateur directors can get deals for anything. Another comic book? Oh, very good.

I guess once you've been acting for a long time, you glean the great bits of good directors and the bad bits from other directors, and you know the way that you would like to be directed.

There's good directors and bad directors. Some of the critics are really conscientious and really try to do what they can popularize the work or to explain the work and so on. And then there's the critics who just wants to make a reputation by attacking. Those are the ones I'm not keen on.

It's not that writing staffs don't change at all, but they don't change very much. Directors are freelancers. There are directors who do five or 10 episodes of a show every year for years, but most directors are freelance, they come and go.

Yes, there are directors I admire, the mavericks. Altman. There are many good directors.

I like to work with talented people, I must say that. That's my weakness. I really like to work with good directors. That doesn't mean I don't like to work with starting up young directors, that's fun also.

In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.

Certainly, you envy the guys that have done all kinds of things, a variety of good scripts and good directors. Then again, having worked with Cassavetes has satisfied a big part of that.

I think more than comedy, probably more than straight drama, I like horror. And horror I think I'm particularly good at. It's a mistake a lot of directors make, especially young directors. They always want to make the kind of movies that they most admire and aren't necessarily sensitive to what they have the best skill set for.

I want to work with good people and good directors.

Great directors turn in mediocre work, and first-time directors turn in exceptional work. No matter how good a person can talk about what he wants, you never know. You just have to go with a good story and a script that you like and people that you like to work with.

I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.

Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'

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.

Directors don't get to see other directors at work - they're the only one on the set. I've met directors who've asked me what another filmmaker is like. So, there's probably nobody better placed to make all the comparisons and to pick up stuff than an actor.

I won't take the credit of being a good actor but I do feel that there are good directors who are boldly experimenting with unorthodox subjects. I have been lucky to be part of these projects.

When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.

I've worked with some absolutely wonderful directors who bring out the best in me and I know I can trust, and then I've had the opposite experience, too. I've had both experiences, and obviously one is good and one is not good. When they're great, it's good. When they're not great, it's not so great.

I don't go to a lot of other directors' sets; directors don't come to mine. Directors are all very cordial with each other, but they're not necessarily friendly.

I don't have any problem working with first-time directors because all directors have to start somewhere and all great directors have had a first film. So, if you take the view that you don't want to work with a first-timer, you might miss out on a fantastic opportunity.

I'll put it this way: with the kind of films that I do - creatively driven, with interesting directors and writers - I don't feel the need to work with the super established, top-tier directors that are out there.

It's hard for new directors to find good tracks because we don't usually get to choose good music by good artists. I honestly think music videos will slowly die out. There will always be a few directors who do cool things. But look how many great videos there were in the '90s, and then look at the 2000s. It's depressing.

I've worked with a couple of female directors now, and I think that they're amazing. As good or better than guy directors.

Yeah, I've worked with a couple of female directors, now, and I think that they're amazing. As good or better than guy directors.

It's entirely to do with personality, I think. There are good directors who talk a lot, bad directors who talk a lot, and good directors who don't say much and vice-versa. It just depends on whether people respond to that personality and whether people have a willingness to do something for them.

What worries me are these so-called radio stations with program directors who don't play all the different flavors of hip-hop. They should play the old with the new, 24/7, 365 days a year. A lot of these program directors are just jiving around and not playing all the good music for the people.

I will say that is a quality I love about great directors, which is the ability to give you one word that can inspire you. I appreciate a director with a very good vocabulary. There are so many directors that I have worked with that can give you one word.

Great directors turn in mediocre work and first-time directors turn in exceptional work. No matter how good a person can talk about what he wants, you never know.

Yes, I will probably concentrate on solo roles, but I would not say no to multi-starrers if they come from good directors and with a good script. I would allow myself the freedom to do it.

Marvel has this tradition, and I think that Sony has this tradition too, of hiring directors for Spider-Man who are dramatic directors. That are directors who are interested in human beings, in characters, in drama, and who are really good with actors. That kind of feels like a Spider-Man director to me. And because Spider-Man is always as big as the films that are being made at Marvel, it always is character and story. You can never take that out.

As for the Canadians - good actors and good directors are sometimes taken by the American market, you know, if they're good enough.

Big producers trust the music directors. Small directors are insecure but like to experiment.

I've read a hundred fantastic scripts that didn't pan out as films, and I completely put that on the directors. I've also read some mediocre scripts that have ended up being amazing, and I credit that to the directors. They're the storytellers. If you don't have a good storyteller, you really have nothing.

All directors are control freaks and very obsessive. I get the feeling that directors as kids, they all have had a childhood with not too much contact with other kids. They constructed their own reality and they continue to do it. It's a funny breed, directors.

I like directors who come ready to challenge you to ask the right questions about your character, and I know that directors appreciate that in actors as well.

And I just want to work with good directors and good people.

I'm a believer that players are good self-directors, and I think one thing that's good about video games is they can direct their own experience.

I think one of my favorite directors is P.T. Anderson - living directors, I should say. And Spike Jonze is one of my favorites, Gus Van Sant.

I look for something that grabs me and that's heartfelt, and that's coming from a good place. I want to work with good actors and with directors that I can learn from.

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 want to work with great directors. I've picked films based on the script or the character and seen them collapse because the directors were not strong visionaries.

It is always good to be cast in films with good stories and content, made by such amazing banners and directors. For an actor it's a task to work in films like these.

There are times when you work with directors on set, and things are a bit rudderless, and those can be good directors.

I felt I knew Lugosi. Like him, I had worked for good directors and terrible directors.

It's not often I get to do a film that turns out good. Plus, there just aren't that many great directors out there. There are a thousand different decisions that need to be made with each script and it's the good directors that can make those decisions. It's a long and complicated process in regards to what looks good on paper. Working on a bad film can be fun too. It can be a good exercise that gets you writing.

I've turned down good directors before because I knew the part didn't speak to me and I've worked with less talented directors before because the part I had such passion for.

Ultimately, mentorship plays such a big role in breaking directors that successful male directors tend to reach the helping hand to guys who remind them of themselves. We need more women directors so they can reach out to girls who remind them of themselves.

The key is working with great directors. A film is so many different people and all their talents, but particularly the directors, because of the idiosyncrasies of that person.

I don't think I have advice for female directors as opposed to male directors. I think all first-time directors should try and be as prepared as they possibly can, because it's hard!

Like any other actor, I want to work with good directors, and I always look for good scripts. I've had to say no to some people; I suspect that's the reason I'm called arrogant.

I'm just hoping that as I get older, and as more and more movies get made by female directors, what we start to see is how, in the same way good male directors get a shot at creating interesting male and female characters, women do as well.

I understand the formula that producers hire directors and directors are hired to direct and actors are hired to act. I don't have any conflict with any directors because I know they're the boss.

I've been fortunate to work with good directors who understand improvisation and understand the way comedians work. Luke Basan let me do my thing like do what you feel and take the character to another level. Quentin Tarrantino was more of an acting coach. He can teach you beats and then hell say go with it but give this feeling. So I've been fortunate to work with good, seasoned directors.

I have a greed to work with good directors.

That really sets great directors apart from good directors: their ability to make you feel like you matter, even if your part is much smaller. That's one thing I found with most of the great directors I worked with: They all have that skill. Not everyone takes the time.

There are two types of directors: the directors who take and directors who give.

With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.

But on this show, it's a good question because in the 35 shows that we've done now, I've really made a consistent effort to really shadow the directors because in many ways they have to be more prepared than feature directors.

I wanted to be a movie director. I was just obsessed with watching movies and camera shots and directors. I read autobiographies and stuff of directors.