Top 1200 Music Director Quotes & Sayings - Page 6

As an actor, you have to believe in the point of view of a director; as a director, you have to be able to express what your point of view is and invite everybody to join you on that journey. So it's always about opening up.

I've always thought Ed Burns was a profoundly underrated actor. He's a great director, obviously. A great director/writer. But I think he's a stunning actor, too.

I cannot sit back and think that I am the best. I have to prove again and again that I am the most original music director around, even if I'm everyone's favorite whipping boy.

I will say that I'm going to take full credit for this. I knew Josh [Hutcherson] was going to be a star. One of the things you do, as a music video director, is spot talent. Th at's one of my things. I don't just do random people.

When I became a choreographer, I was not assisting any choreographer. I was assisting the director Mansoor Ali Khan for 'Jo Jeeta Wohi Sikandar.' I was the fourth assistant director.

I've been a director and chairman of three good, modest clubs - Coventry, Charlton and Fulham - and the abuse you get can be cruel and shameful. I've had a wonderful life and wouldn't change a moment of it professionally - except that I should never have become a director.

I don't know why people have to categorize things in music under music. It's music and it's music and it's music. When you start putting genres on things, I think it's completely ridiculous, and I hate that.

My musical director, Mark Cherry, is the most wonderful person who ever lived on God's good green Earth. He's my director, he does the arrangements. Really, he does everything - including certain janitorial chores!

It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack.

As a director, you're incredibly proud when an individual steps up to the podium and is acknowledged for their work. But to have an entire company acknowledged, there is just no higher honor ever paid for that company - or for the director, for that matter.

The difference between an experienced director and a new director is not as big as the difference between individual directors, the temperament they have, and the things they're interested in.

I thought I was depressed because I wasn't a writer/director. I moved into a space where I'm a writer/director, my movie is a hit at Sundance, I have a wonderful, loving boyfriend, and wow, I have financial stability. Why can't I get out of bed still?

As a director, I do very few takes, because I feel like you hire the right actor and they'll do the job right. And the directors that I've worked with and had the best luck with - Jason and [ Steven] Soderbergh and the Coen brothers - all have been that kind of director.

When a film works, the director had a lot to do with that, but the director also didn't have a lot to do with that. There are so many moving parts. It's really about being open to how the river is flowing and trying to get on the river.

I spent almost eight years working for the Obama administration, in the White House as the deputy press secretary, deputy communications director, communications director, and as the spokesperson at the State Department.

Live-action films are very much a director's medium, and that director is going to be a very strong voice, a stronger individual voice than you'd have in animation.

The director, Moisés Kaufman, just received the national medal of the arts from President [Barack] Obama . He wrote and directed The Laramie Project and he has directed several Pulitzer prize-winning plays. He's a pretty profound director in the theater.

Just trying to get to know what director Bill Condon wanted. He's a great director and knows exactly what he wants. He knew every lyric to every song; knew where a handicap was.

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. That's what I mean when I say branding and developing yourself, as a business.

A writer/director is a tough thing to gauge when someone hasn't directed a movie before. You just don't know. Sometimes it will be a great script that's written beautifully, and then the director who has also written it does not have the facility to translate it.

If you have a vision or if you believe the director has a vision, then at least you've got something to talk about, something to try and head to and I think that's mandatory for every director to have to do a good job.

I've been writing all my life, and playing bass came later on, when I was about 26. What I recognized with poetry and music that I had a different voice - there were things I wanted to express that I could not as an actor or even as a director. It was another avenue of expression that my soul needs.

A casting director who'd cast me in 'Assassins' sent a video to Kevin Reynolds, the director, and Mel Gibson, whose company is producing '187.' Then I went in and auditioned, and a few hours later, they called me.

I didn't have a burning desire to be a writer or director - writer probably more so, certainly not a director.

Hours is an understatement. I honestly don't know how the director and editor decide each week what actually makes it on the air. There's of course director and cast commentary on each episode on the DVD. We had a blast recording that.

I thoroughly enjoyed shooting for 'Velaikkaran,' and I made a great friend in Sivakarthikeyan during the process. Also, it was wonderful working with director Mohan Raja. I have not seen a director who takes so much effort to get things the best way possible.

The 9/11 Commission strongly recommends that the National Intelligence Director be fully in control of the budget, from developing it to implementing it, to ensuring that the National Intelligence Director has the clout to make decisions.

I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.

I think what makes a good actor's director is the same thing that makes a good director. Acting is just one of the trades necessary to make a movie.

Film is mostly a visual medium, and so the director has much more control in terms of painting pictures and painting a performance. For theater, the director does everything he can and then says, 'Out you go,' and the actors are in charge of that stage every night.

We haven't seen a situation where you have the FBI director talk about an investigation side by side with the attorney general who confirms, yes, I accept the recommendation of the FBI director.

In Hollywood there's no real material. They would send me stuff, but I hadn't even seen the director. If I don't see the director's eyes, I'm not going. I'm not even going to pack my bags.

I'm very shy. But as a director and especially a female director, absolutely: How I used to walk on the court is how I walk on set. And I have to - I mean, I'm controlling 150, 200 people, and everything is on me.

For me, it's not like I am going to look at the money the director's film has made before their film... For me, it is about working with the director whose work I have admired.

After reading the script I ask the director about my character's background, what does he do, how he walks, talks, what clothes he wears... I ask the director how he is looking at it.

Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.

I don't believe in luck. Everything is our doing or undoing. If something doesn't come out right, then as a director, you have to take full responsibility. You can't just say, 'No, I gave this job to the music supervisor. They promised me they would do it, and they didn't do it.' You can't blame anyone else.

I've always noticed a difference between working with a director and working with a writer/director. In how much they're invested and how specific they are.

My dream is to become a director. I want to direct a Hindi film. I have two scripts ready. One of them is a fantasy-adventure, while the other is a thriller. I've assisted my brother Selvaraghavan, who's a well-known director in Tamil cinema. I've also made short films.

As an actress I find the most enjoyable part of acting is really just to please the director. I just want to please my director.

There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.

Those who have themselves for a spiritual director have a fool for a spiritual director.

The Screen Directors Guild was organized solely by and for the motion picture director... We are not anti-anything: The Guild being formed for the purpose of assisting and improving the director's work in the form of a collective body, rather than as an individual, as was necessary in the past.

Your own barometer is all you have to go by, and often what makes a good director is knowing when not to say something. On occasions you can find yourself on a film set where the person who is wearing the director's hat is only trying to justify his position.

A music director cannot and should not be chosen on the basis of a first date. It is not so difficult to make a good impression with a single appearance, usually containing some of a conductor's party pieces, works they have performed successfully many times before.

J.J. Abrams is a director with no ego. He is a director who has a very consistent attitude when he's at work. He's funny, he's brilliant, he's a combination of all these really great things. J.J. is the kind of person who sees the bigger picture before anybody else does. It sounds simple but not all directors do that.

That's the best way to work on a project: talk to the director. In the end, it's the director's idea of how they perceive the movie and how they perceive the characters.

As long as you have a director, that's your feedback. It's the director telling you, "Okay. That was great! Okay. Can we add a little? Can you tweak it like this? Can you make it more high pitched? Can you give it a little growl?"

To me music is music. A person of faith, a person that calls themselves a Christian, they are the Christian and they make music. Some music has more to do about God than other music, but in reality what makes the difference between "secular" and "Christian" music is simply a marketing channel.

If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.

I'm the type of actor that believes the director has to be in charge. I've been on sets where the actor's ego was the most important thing, and with a director that messes it up. But I don't like a dictator, I want it to be collaborative - the best idea wins. If I feel respected, and I'm going to give that back. If a director wants to try something, cool, I'll give it back. I also feel like they cast me for a reason, so I'm going to make my mark on it... let me do my thing.

When I was growing up, music was music and there were no genres. We didn't look at it as country music. Popular music in Tuskegee was country music. So I didn't know it in categories. It was the radio.

Music has been so healing in my life, so the fact that my music could be that for someone else is the best gift of my whole career. People have told me that they got married to my music, divorced to my music, and played my music while they were having their baby.

You can have an amazing director and terrible script, and the film's not going to be great. But if you have the most incredible script and an okay director, you could still get a really good film.

With Lady Gaga I really stretched myself as a creative director, and because I was with this artist from before she got signed I was able to really take control of the opportunity and execute as a creative director.

I don't recall a show I've ever been on that had the same director do two episodes in a row, but in England, they do it all the time. In England, they'll just have one director for eight episodes. That was the British system that Jane Tranter and Julie Gardner wanted to bring to the States. I think there was a nice merger of the two systems. They might have gone with one director, but John had obligations on The Village, and he had to leave and come back, so it seemed like a natural place to break it up.

I've been a full-time composer for many years, and I'm still learning all the time. There is always more than one musical "solution" to each movie scene, but my goal is to compose music that works perfectly for the director, and me!

I went off and did 'Space,' which turned out very well, and when the series was picked up, my options were to stay with 'Space' as a producer/director or go to 'The X-Files' as a producer/director.

Having a good director is very important. It's crucial. When you do good work with a certain director, you want to work with them again, and hopefully vice versa.

When I move from being a cameraman to being a director I looked at a lot of other cameramen who tried to make the move. And in each case they moved up their camera operator to be the DP, which really meant they didn't want to give up being the DP, and really wanted to do both. And my feeling was if I was going to succeed as a director, I had to just be a director and give up the safety net of being a cameraman.