Top 1200 Music Director Quotes & Sayings - Page 3

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.

William Castle and Alfred Hitchcock were the first director-personalities. Before then, nobody in America knew what a director was.

I don't know what I'm qualified to do, film-wise... So it's really down to a director or a casting director to find something that they think I could do.

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 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.

In the 1990s music was a beautiful collaborative process between the composer, lyricist and director. They would exchange ideas and magic used to happen.

I started as a music director in Punjab and then started singing.

For me, a director is a director immaterial of the gender. At the end of the day, the audience is only interested in watching a good film.

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.

With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, 'Put some music in there.'

A lot of directors don't know what they want to do. Every director I've seen that was a good director that I've admired knew exactly what he wanted to do. They didn't sit there and think about it.

What I like in pictures whether by an old director or a young director is when I have the feeling he or she is really using the capacity of film.

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

I like to adapt to a director's way of working. I love doing that. Each director is so different, and you have to adapt to this new way of doing something. That's what's amazing to me. That's why I love directors. I don't want to director to have to work around me. I think it's more fun for me to come in on their thing.

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.

When you're a music director, you have people constantly sending you music and trying to get - I mean, I'm sure you have the exact same thing when you do a magazine - that you have people constantly wanting to get your attention. And I think I learnt a lot from being on that end of things, when I was trying to book the tour, the first tour we did.

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

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.

What a director does... essentially, it's storytelling, but a director also controls the feeling and the sounds and the texture. It's an act of creation, like a symphony or a painting or a story. But with different tools.

My job on a film is to be responsible for all the sounds in the movie besides the music. Together with my team, we work on the dialogue, foley, sound effects, and sound design. We work closely with the director and picture editor in the prep period, and then together with them, the sound mixers, and music crew, we collaborate on the final mix of the film.

I am a very spread out type of director as I just love working in all of these different worlds; I go from commercials to music videos to art projects.

As an actor, I'm attracted to drama; as a director, it's humor - because it's the story of my life, and I can't be that serious about it. Being alone is a big theme in all my movies, both as a director and as an actress.

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

The producer can put something together, package it, oversee it, give input. I'm the kind of producer that likes to take a back seat and let the director run with it. If he needs me, I'm there for him. As a director, I like to have the producer there with me. As a producer, I don't want to be there because I happen to be a director first and foremost, I don't want to "that guy."

Yes, they allowed us to play around a lot because, like we said, the director's such a good comedy 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.

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.

I love music, I make films with music, I eat with music, I sleep with music, I think with music. Music makes me dream, it strengthens my creativity.

I love music, I make films with music, I eat with music, I sleep with music, I think with music. Music makes me dream; it strengthens my creativity.

Ultimately, a director is a storyteller. I wanted to fortify that part of my life as a director, so I thought the best way to do that is to study and learn about the greatest stories ever written.

I'm a composer, music director, singer and performer. So it is a Bollywood rule that people don't know who has sung a song and whether your voice will be chosen.

The joy is actually in the music. It's the music that supports you and tells you what to do. It tells you how to fill the music. You don't have to be shy about feeling the music when you're singing. If you believe in music-the power of music-the music will support you and take you to another dimension.

I would never have become music director of the Chicago Symphony, which would have been an extremely sad loss.

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.

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.

You can be playing a line some way and the director wants you to change that, or you can disagree. But I always think that the creative conversation between director and actor is what leads to good work.

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.

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 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.

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.

An office party is not, as is sometimes supposed, the Managing Director's chance to kiss the tea-girl. It is the tea-girl's chance to kiss the Managing Director (however bizarre an ambition this may seem to anyone who has seen the Managing Director face on).

At school, I decided I wanted to be a director and then I went out and spent the rest of my adult life trying to be a director. It was really clear to me. So in that sense I was very lucky.

Filmmaking is a creative process so there is a lot of collaboration that happens on set between an actor and director, but at the end of the day, we're there to actualize the director's vision and things happen organically.

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.

The music director, Stephen Oremus, was telling me: "I hope you've done your work." We only have ten days rehearsal. The music is no joke. My solo singing is not that hard. But the stuff I have as part of the choir or as a "Dead Guest" in the second-half... I'm singing some really incredible chorus stuff that I haven't done in a long time. It's extremely difficult.

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

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.

The orchestra confides in me about their music director or their conductor, and I've never seen a conductor that's been liked by everyone.

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.

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.

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.

If you look at the least effective of the 'Twilight' movies, it was when they brought in an action-movie director instead of a director who was really a good storyteller. And you can tell the difference.

When you're artistic director of a program, you present the music you want to present.

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.

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.

The best directing style is the one that lets me do whatever I want. Seriously though, I like to be challenged and I like to collaborate. I love finding the medium between what I think and what a director does. I hate when a director uses the "my way or the highway" approach. But it also sucks when they tell you everything you do is great and offer no input. It's a fine line a director has to walk. It is a hard job.

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

I was the music director at a dinner theater called the 'Pheasant Run Theater' in the suburbs of Chicago, and that was my side gig while I acted.

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.

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.