Top 1200 Good Directors Quotes & Sayings - Page 3

I keep working with fairly inexperienced directors. You know, if you have a good crew, a good cameraman, you know, I know what I'm doing. If the actors know what they're doing, we can all pull together, and it works.

Movies are certainly a director's medium, so getting the opportunity to work with really good directors is everything to me.

The great directors managed to dissolve and disappear into the work. They make other people look good.

When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like youre in the way.

I always used to associate good directors as being ones who are totally extreme and have an answer for everything and there are no loose ends.

Favourite directors change, like favorite authors. I had a passion for Gide and Stein and Faulkner. But now they're no use to me anymore. I've assimilated them - so, enough, they are a closed chapter. This also applies to film directors.

Working with actors really depends on the actor. Most of the directors I've worked with don't really know how to speak to actors, actually; some of the best directors don't.

Farah ma'am is so technically strong. She is such a good director and one of the most fun directors.

You can't rely on the approval of others. I used to always look for praise from my directors to reassure myself that I was doing a good job. I don't do that anymore.

I worked with young directors all my life, only young directors.

I would love to see more women directors because they represent half of the population - and gave birth to the whole world. Without them writing and being directors, the rest of us are not going to know the whole story.

That was the good thing about having different directors [on series]. You had to stay on your toes.

We are absolutely open to working with outside directors. But the criteria for working with outside directors would be the script they have, the kind of vision they have.

I do like to work with young directors because it's such a difficult business that I think after directors have been around a while sometimes, not always, but sometimes their passion gets siphoned off because they get hurt.

Good directors can bring certain things out of you, with their intensity or gentleness or sensitivity or understanding. They can make an actor feel he can do no wrong.

When you're doing a medieval show like 'Pillars,' it starts off a bit like a school play. You're all in funny costumes; you've had your coffee, and you say, 'Good morning'. Then you go on set and, if you've got good actors and directors, it takes on a life of its own.

As a director, you never get to watch other directors work, and you also don't get to collaborate with other directors that much.

There are many directors in the middle range who've made mostly successful pictures, and then there are a few great directors who've had some successes and some failures. I suppose my life would be smoother if I wasn't almost totally enamored of the latter category.

I've always thought that as long as directors and casting directors don't see me as just Harry Potter, I'll be OK. People have shown a lot of faith in me, and I owe them a huge debt. They're letting me prove that I'm serious about this.

Stoller is one of my favorite comedic directors - one of my favorite directors that I've worked with to date.

In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut their movies in their head.

There's no big splashy renaissance in Italian films. We have good young actors and directors. What we lack are screenwriters. It's hard to write about Italy.

A lot of really good directors have a killer in them, as if they'd do anything to get that image. But that comes with the terrain and I don't mind it.

Nowadays, there are seven music directors in one film. I had never heard of such a thing before. If one of our old music directors was told to share a score with others, he would have left the assignment.

Sometimes, when you work with directors who have done it a lot and are established in the business and know the game, there are all these rules that they have. First-time directors will allow you to come in with choices. They're not so jaded by actors that they're like, 'Ugh, just do your job, man.

Any filmmaker, big directors, and I'm not dropping any names - I actually have couple names I want to say, but I will not - we have a ratio. Each thing you repeat, my ratio is one to four.Actually some people are ratio one to 34. I know couple directors, big directors, they are just shooting over and over.

When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like you're in the way.

A lot of actors aren't particularly good directors. And they're not particularly good with other actors. That's kind of a fallacy.

Most Chinese filmmakers grew up watching television; they watched films on television, not in cinemas. The scope of their vision is not big enough, they're not yet detail-oriented enough. You have to watch films in cinemas for years to understand the depth and scope of vision needed in filmmaking. Directors in China usually come from an academic background; they graduate as film directors. Whereas the directors from Hong Kong learn their trade on sets, beginning at the lowest rung.

I think the best directors rarely loose their temper. I think the best directors provide you with a safe environment where they can instill you with confidence and allow you to try things out and not feel like your failing or that you're doing it wrong.

I've always wanted to work with the best directors. Directors lead you to the best material and thus the best actors.

Critics don't want to see directors they like make too much of a left turn. That's good for criticism.

I really do think you lose the audition on the first ten seconds. I think you walk in, the casting directors and the producers and the directors have a real definite feeling of what they're going for, and if you don't look like it, it's pretty much done. Your acting is basically a bonus.

It's a lot to do with the Marvel ecosystem. It's different from the traditional studio system. Because it is, for how absurdly, incredibly successful they are, it is a family. It is a loving family. It is a group of people who only care about making things good. They don't choose directors who don't want to work with them in the way that they work. And the directors that they choose are better for having done it. Every director who comes out of that system are one kind when they come in, another when they come out. And they usually come back for more. They usually make more than one.

I have tried to make decisions to work with great directors, with good scripts, and that makes the pickings real slim.

Some directors are really strong on action, manhandling you around the set; others are very focused on setting up the camera shots and practically ignore you. You have to get used to introverts, extroverts, directors who clown around for the crew, and the odd one who's monosyllabic.

There have been directors that I did not enjoy working with, but for the most part I realize that I have been unbelievably spoiled in my career because I have worked with some of the greatest, greatest directors ever.

All great directors - however, they do it - make you want to be good. I hope I do it. It's like being a parent, a psychiatrist, a disciplinarian and a friend.

The directors that I end up having a really good time with are the ones that understand the fluidity of the medium and are interested in catching lightning in a bottle.

Hmm, can I be obvious and say there is probably a double standard for male vs. female directors? Sadly, I think that's actually the case. And it probably stems from the fact that there are proportionately so many fewer women directors than men ones that each project is perhaps more closely scrutinized for its content.

Actually, I met a lot of directors and most of them have that fantasy to make a silent movie because for directors it's the purest way to tell a story. It's about creating images that tell a story and you don't need dialogue for that.

I have sung songs in many Indian language be it Kannad, Tamil, Telgu, Marathi, Bhojpuri or Hindi and worked with all the good music directors.

Some directors are very free and some directors are very specific. It seemed like doing a play.

I tried working with the best of directors and producers. I tried being selective, but things didn't work out. Now, I am open to working with anybody and everybody who is good. Or I'll try to make it good. That suits me.

I think I happened to work with sort of a bunch of slightly difficult male directors when I was a kid. I've since worked with lots of male directors that I love, so I no longer see the distinction gender-wise.

Sometimes, when you work with directors who have done it a lot and are established in the business and know the game, there are all these rules that they have. First-time directors will allow you to come in with choices. They're not so jaded by actors that they're like, 'Ugh, just do your job, man.'

The greatest thing about having done 'Orange' are the doors that have opened for me, and people have been able to see me, like the executives and the casting directors - also, all of the fantastic directors and writers for independent films.

I don't plan, because everything goes against my plans anyways. There's absolutely no point in planning anything. I'm just enjoying the moment. I'm meeting with a whole lot of people - casting directors, directors, agents. I have things going on everywhere, but I have no solid plans.

I feel like a lot of the young actors that are just coming up are really good. I think directors are directing better.

Of course, even if the directors like my ideas or the designs I do, they may end up changing the story so much, that those characters have to change, or get cut out altogether, and that's just the way it is. Sometimes the directors are designers themselves, or they want to work with a character designer who will do things in their own distinct way - sometimes the most important thing I do is figure out what they don't want to do, by experimenting. Either way, whether they use my ideas or not, I get paid, so it's all good.

I think a lot of good directors listen to music while they're working. The songs just don't become a part of the film. They're replaced.

The director's who want to be innovative use the DVD as a tool to see what people have done in the past and you have other people who will actually take from better directors and that makes them better directors.

Bollywood directors are like cricketers where in one match you score a century, and in the next match, you are out for a duck! Moreover, very few directors are consistent in Bollywood.

I do not want to do the regular heroine roles anymore. I am looking at working with good directors on interesting projects.

There`s only one list that`s more illustrious than the list of directors who won the Palme d`Or. It`s the list of directors who didn`t.

Many directors are approaching me with good scripts. I will concentrate on production and music.

Female directors, directors of color are a big thing for me, which are both important voices and potent voices that need to be heard. That's how I want to engage myself as an actor going forward.

When I came to the industry, many directors like Krishna Vamsi and Puri Jagannath had encouraged me a lot. Krishna Vamsi is my mentor, and I admire him. That's why I give chances to new directors.

Our job as composers becomes easy when directors have a good knowledge of music and know exactly what they want.

I do not come from the industry. But I have realized that it's very important to work with senior directors and good production houses. It makes a lot of difference.