Top 1200 Music Director Quotes & Sayings - Page 2

People think a director teaches acting. But in good films a director doesn't.

If I was a young director starting off, there's so many tools at your disposal now to do things relatively inexpensively that it's a great time to learn your chops and do some cool music videos. If I started all over again, I'd still be doing music videos, I'd just be doing them very differently. It's very difficult for me to do them now, but for young kids out there that love music and want to tackle a different art form - and I do think music video is an art form - that's a very cool thing to do.

I think the power of opera has been shifted from the music to the director, because this is a very visual age that we live in.

A male director doesn't come to situations the same way that a female director would.

One of the challenges of being a director is often you don't get to work with your peers. You know, writers can write together, and as a director you get to work with so many wonderful actors and writers and designers. But it's pretty rare that you get a chance to partner in that way with another director.

The director's job should give you a sense of music without drawing attention to itself.

I have my pride. I'm a director. I'm not going to go and recreate some other director's vision.

Raksin worked for Alfred Hitchcock, about whom one of the most famous Raksin anecdotes was spoken. The legendary director declared he wanted no music at all for the oceanic Lifeboat, because he felt audiences would wonder where the music was coming from in the middle of the sea. Raksin said, Ask Hitch where the cameras are coming from.

I still make more money as I do as an actor than director, however I don't want to be a commercial director.

I'm very old-school. I like a director to direct me. I like to be the actor. I'm not particularly fond of the hybrid writer-director, or actor-director. Writers, directors, actors are all such very different people. I think it's unusual that two of those people are in one human.

The director's very important to me, particularly when the director has a recognizable style.

You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.

Inarritu's own nomination for Best Director for 'Babel' was the first such honor for a Mexican director.

A director is a director. Man or woman should matter little.

I'm not a great director or an auteur; I'm an ensemble director. I do think I can get wonderful performances out of actors.

Lata Mangeshkar is an old friend. I knew her through my father Aparesh Lahiri who was a music director in Calcutta.

I am a director's actor. It is a director's medium, definitely. That doesn't mean I stop using my head.

The director has to win, because you should never force a director to shoot something they don't believe in.

Very often, it's the director that I'm attracted to. If it's a really good director, I don't even have to read the script to say yes.

I love all types of music - jazz, great pop music, world music and folk music - but the music I listen to most is piano music from the 18th, 19th and 20th century. Russian music in particular.

I consider myself more a European director who is from Iceland than an Icelandic director.

My director Shakun Batra, I believe, is one of the finest in the industry and he has been the dream director I've always wanted to work with.

When I started singing, people said I couldn't sing because I was a music director. I proved them wrong.

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.

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.

DSP is not only a music director for many of my films, but he is also a very dear friend.

I don't take anything for granted from any director. I am just a slave of my director.

The performance of a music director should be judged in a holistic manner, which includes songs as well as background score.

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.

It's madness to hand in a script to a director, leave them alone, and for the director not to want the writer there with rehearsals and the shoot.

I almost became a music major, but somehow I was so enthralled with the camera and becoming a director that I stuck with film school and theatrics.

David Boreanaz is actually a very good director and he directed one of our episodes. Excellent director, knew exactly what he wanted. We never had long days with David. He was great, he knew exactly what he wanted and he's a fantastic director.

When you do a rewrite, it's really about serving the director's vision, and what the director needs to go into that script.

[YSL creative director] Hedi [Slimane] is a music-obsessed guy. I might've originally met him through Sky.

There is always a collaboration between the director and the actors, and you always have to listen as the actors have to listen to you as a director. In the end, you as a director, of course, are the captain on the ship.

I joke around sometimes and say that the DP [director of photography] is like a shrink for the director, but there's some truth in there.

If a director is really a director, I think he's interested in more than one thing.

The thing that separates a so-so director and a great director is a love and caring for film.

Your actors need to trust you as a director, but normally, I think you just need to have an open communication between the actors and the director. I think the director needs to really paint his or her vision to the cast and let them know the kind of mood that he or she is making. I think that's very important.

Richard Lester is a wonderful director, a great comedy director, of course.

If I love the script and have a good rapport with the director, then first-time director can also be very special.

My greatest strength as an actor is that I follow my director's brief completely. The film is always the director's visual baby.

The respect for a musical score must come from the director... If the director has no power and has to surrender to budgetary constraints, this is where we have the problem.

I have come to Kolkata to make music, but I can't expect one director to give me work all the time.

I cannot be music director at La Scala and at Staatsoper. This would be unfair to one of the two institutions.

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.

And also, Sergio Leone was considered in Italy a director of category B, not a big director.

When you're a director you always feel weird with another director watching over your shoulder.

I don't really consider myself a horror director or a violent director at all.

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.

I don't see myself as a short-film director, and I'm not a commercial director.

The only person who has artistic control is the director, and 'director' is how you spell God in Hollywood.

Miloš Forman is a great director; Jim Brooks is a wonderful writer and director.

I'm having a blast being the music director at the Academy of St. Martin in the Fields. It certainly is challenging for me, but I love challenges.

I'm not particularly fond of the hybrid writer-director or actor-director.

I became a music director because I never saw my father get the success he deserved.

I went to art school, and I studied drawing and video art, and I've always approached music so visually as a result that I found it really difficult in the past to kind of hand off music to another director, 'cause it just ends up being this kind of mid-zone where it's nobody's vision, really.

When you work with a great director, you realise you are far from being a director.

Music is my life. Music runs through my veins. Music inspires me. Music is a part of me. Music is all around us. Music soothes me. Music gives me hope when I lose faith. Music comforts me. Music is my refuge.

I aspire to be an instrument of the director. I'm happiest like that. The stronger the director, the more I'm willing to give them.