Top 1200 Music Director Quotes & Sayings - Page 5

G.O.O.D. Music is on top because G.O.O.D. Music is the culture. When you think of, you know, just every aspect from music, influence, fashion, art level. If it's not G.O.O.D Music, then it's somebody who was influenced heavily by G.O.O.D. Music.

I was concerned about who he would put in there as FBI director because he had expressed antipathy for the FBI, for the director. I was going to stay there and make sure that he couldn't replace me.

As a former Assistant Secretary of State, Senior Director on the National Security Council, and Washington Director for Human Rights Watch, I hope to bring unique experience and knowledge to the Foreign Affairs Committee.

I don't think of myself particularly as a Scottish director, but you are what you are because the first ten years of your life, and where you spend them, brand you. In that sense, I'll always be a Scottish director.

If you're a director and someone shows up and asks how I do it, I'd imagine, as a director, you're like, 'Man, I've got a million decisions to make; can you show up with an idea for the scene?'

Nepotism can be one of the factors that affected the industry in the past, but today, what matters is good content, talented artists and good sound. That's what every music label, director or producer is looking for.

When I started trying to become a director, I started shooting low budget short films, 50-dollar music videos, making my own stuff. That eventually led to commercials.

When 'Humsafar' did well, every single person associated with it shined. Its DoP [Director of Photography], Shehzad Kashmiri, went on to become a huge director. So, a good and successful project just blesses everybody.

When I was to come to Washington the first time as Music Director of the Boston Symphony, Mrs. Johnson phoned us to find out if they could give us a party and who we would like to meet.

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.

Essentially, it is the director who is the creative head of a film. The final authority on all decisions lies with the director. That is how it should be. And then other team members can give their creative inputs.

I can tell you it makes a big difference to have a director who is collaborative. What motivates a character in my mind could be completely different from what the director's thinking. You have to have those conversations ahead of time and throughout the process. It affects the performance.

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

I believe that the director is really the soul. It is a collaborative effort, but the director is the one who needs to have that vision. It could be a great script, but it starts from there. You need to have good material, at least, but if you don't have someone with vision, it's just words.

My character in 'Batman v Superman' isn't supposed to be Japanese, but director Zack Snyder said he'd seen me in 'Wolverine' and had to get me in the film somehow. Hearing that was like music to my ears.

I am aware that as an actor, I can blame others for the failure of a film, the director, the script, choice of co-stars, timing of the release and so on. But now, as the director, I will have to shoulder all the blame.

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.

When I began to direct, I began to understand and realise that everything that I'd learnt, both in music and dance and in the theatre, seemed to come together as a director, and I began to enjoy it. And slowly I let the acting go.

My music is music that Christians and Catholics can listen to. Muslims. Buddhists. And non-religious people as well. It's just music. You can look at the music in several different ways. It's music for everybody.

I have a lot of musician friends. I worked in radio as a music director, and I know everybody hears about the George Straits and the Garth Brooks and the Kenny Chesneys and all that, but for every major star, there are thousands who didn't quite make it.

Originally a record producer more or less hired a bunch of professionals to participate in a recording session, the performers and the technicians, and a music director was put in charge. That directly related to a film producer's job.

Loveleen Tandon, the casting director of 'Brick Lane,' understood my capacity and suggested my name to director Sarah Gavron. The film has such universal appeal that given a chance I would like to remake it in Hindi.

I never really saw myself as a comedy director, and I still don't. I see myself as a director.

For me, the most important thing is the writing - and certainly the director. But if the writing isn't there, it doesn't matter who the director is!

As a director, you need the Saul Zaentz type of producers. Zaentz was a guy who literally capped the storm outside of the director so that they could do their job. That's a great producer.

It all depends on the directors. Working closely with a director is the main job of a film composer. Interpreting what he perceives as a color, an emotion or mood is very abstract. A director tells you something he wants and then you have to run back...

I never went to school for directing. I studied theater with a director. I followed plays to see how a director would talk to the actors. I tried to make my own school.

'A Perfect Place' is character-driven. The director for that wanted a couple of identifiable themes with a bunch of variations. That is what I did. The director for 'The Solitude of Prime Numbers' did not want that at all.

My best business decision was becoming a writer as well as a director, and learning all aspects of the filmmaking craft. My worst business decision was licensing music that I don't own.

It's been clear for some time that FBI Director Comey has lost the confidence of Republicans, Democrats, and broader institutions, and his removal as FBI Director was probably overdue.

An actor is nothing without the vision of the director. The director needs to have a vision that will cross boundaries, that makes the audience sit on the edge of their seats and that pushes the envelope.

With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.

As a director you already have a script, you have actors... you have collaborators when you're a director. When you're writing there's no one to collaborate with, there's no material to look at. I haven't adapted something yet, so, I'm sure that would be helpful. When you're writing an original piece you have nothing.

When I worked as an assistant director in 2007, Indraganti Mohan Krishna offered me a lead role. Now, the same director has made me a villain in 'Gentleman.'

You know, I love plays. I love the smell of a theater. The old rooms and the carpet and all that stuff. I love to tell stories. Even before I was doing music, I saw myself as a director.

I had one well known director who kept saying, "Now Clint, this is what ...." And I'd say, "I know. I read the script. I'm the one who cast you as the director. Let me show you and you'll correct me if I'm wrong."

The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.

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.

If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.

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.

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.

There's something special about working with picture and adding music to picture that really takes you to a whole new level. It's always the director's picture first, and I'm there to help tell the story.

I always felt more like a girl than a boy, I don't know. Music was very important to me, movies were not important. I was not dreaming of becoming a film director.

Sometimes, when you're on the streets, certain music inspires you, and then you have a vision. But, at the end of the day, it's a synthesis of visions, so you have to think, as a director, of a scene, or how to deliver a line, or how do this visually.

One of the jobs of a director is to ask questions. One of the jobs of the director is to stand in for the audience until they get there.

I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.

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.

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.

I understood that I was not the best director in the world nor the worst director in the world. I realized that there is a very mysterious element to what works and what doesn't work in the theater. And it's good to know that from the beginning.

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.

Usually in TV... A TV director could be anything from a main grip to just a glorified cameraman, and sometimes a director can be the person who is hired last. It's very much a producer's medium.

I'm a huge fan of the director, Alejandro González Iñárritu, and his work, and I knew he was going to be an amazing actor's director, based on the performances that I saw in his movies.

I am proud to say I'm a director's composer. People do method acting, I do method composing. I like to get into the skin of the character and go deep into the director's vision.

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 will never become a director or a movie producer. I was always looking at picture directing because I didn't know what to do! You can't be a movie director without real preparation.

You have to be very flexible and understand as a director, especially as a writer/director, that you cannot hang onto stuff really hard. You have to be ready to accept those happy accidents and to anticipate that they are going to happen and capitalize on them.

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.

The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.

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.