Director Quotes by Daniel Radcliffe, Matt Damon, Robin Tunney, Gale Harold, Olivia Colman, Zoya Akhtar and many others.
You pick projects for the part, the director, and the script. I just want to do different, interesting stuff.
I think what makes a good actor’s director is somebody who understands what I’m doing and is respectful of it, but who also has a vision and is directing me toward their vision in a way that feels productive.
A film’s success or failure is strictly on the director’s shoulders.
My first manager, Suzanne DeWalt, saw a play I was in. She was invited by the director Joan Scheckel, who was my first real acting teacher. Joan was also good friends with my friend Susie Landau Finch, who had first encouraged me to consider acting, so that’s how I began studying.
If something touches me, I cry. That’s it. I’m a bit raw, a bit rubbish, really. Often, a director will say to me, ‘I don’t think this is a scene where your character cries.’ And all I can say is, good luck with that!
I was an executive producer. I’ve done a lot of jobs and I think each one helps you get closer to what you want as a director. It also helps you – when you work with different filmmakers – to absorb, to adapt, to know what to watch out for, to know pitfalls.
Friends who are directors like Jim Mangold or the Wachowskis or Zack Snyder – who, whether they know or not – have really left a mark on who I am as a director.
When I was nine years old I use to copy – not trace – the covers of the Donald Duck comics. Many years later I became a close friend of Jack Hannah, the director of the Donald Duck film shorts.
When I grow up, I still want to be a director.
Short films really helped me develop as a story teller, animator, and as a director.
Director Jai Krishna is an optimist who has a never-say-die attitude. He has impressed me thoroughly with his faith in the industry. Not many are aware of the fact that this man had to wait for almost 30 years in this industry to direct ‘Vanmam,’ his first film.
On the stage, you alone hold the key, and on the night you have to trust that the director has inspired you enough to take the material and run with it.
I think one of the major things a director has to do is to know his subject matter, the subject matter of his script, know the truth and the reality of it. That’s very important.
My father was an important person, the director of the school. He could talk to anybody – simple or educated. He liked chess, fishing, and beautiful women.
I think Ang Lee is a very, very talented director. He used martial arts to talk about love and girl, you know… But Zhang Yimou tried to use martial arts film to talk about Chinese culture, Chinese people. What do they think, what do they want and what do they hope the world will become.
I’m a director’s actor; I’m a storyteller’s actor.
From a writing point of view, you now have teams of screenwriters working with a director. What’s lost in the process is the power of that one heart, brain, gut and soul that makes something an original piece of writing.
A man sooner or later discovers that he is the master-gardener of his soul, the director of his life.
I think film and television are really a director’s medium, whereas theatre is the actor’s medium.
I think you’ve got to talk to the director, see the director’s films and recognise that it’s important that the work fits right in and see if as part of the movie.
Work is fun to me. All those years of being an actor and a director and not being able to get a job – two weeks is too long to not know what my next job will be.
I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.
We often hear of a male director directing a great indie and immediately being offered the next huge comic book movie. Rarely, if ever, does this happen to a woman.
Your crew becomes your family and you trust the director and the other actors on the set, and it’s a very safe place.
I will work with a director who has good material because at the end of the day, that’s what counts.
I’ve done my coaching badges, I’ve got my Pro Licence, but I enjoy what I’m doing now. I’m also the elite performance director of the Welsh FA. The main thing for me was always Liverpool Football Club and my country, Wales – and I’m lucky enough to still be involved with both of them.
If I get lucky and I can choose, I would always choose a really good story and screenplay, even if I don’t know the director. If there’s a good screenplay, there’s a chance that something good is going to happen.
A director has to be on the set when the crew is called and is the last one to leave at night. I’m not saying it’s not possible, but that’s partly why we’re not seeing more women.
I have a very clear vision, and I come from film, where director is God, so if there’s a clash, it’s painful.
A director must be a policeman, a midwife, a psychoanalyst, a sycophant and a bastard.
I would consider doing any part as long as the script is good and the film has an interesting director.
The first heart you win over is that casting director. In first meetings, they’ll be the ones who see your pitch for the character. And then as you get further up, they’ll be the ones reading with you in front of the network.
I mean he’s a very famous director… they’re not going to put their… and he’s very tough, he doesn’t like interference at all, so he kept them at bay.
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.
The film is a direct mirror of the director. If your director doesn’t know how to dress, there will be an aesthetic of the film that won’t come through – whether it’s in the costumes if he doesn’t know exactly what he wants or the look of the film.
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 don’t really need a lot of help from a director.
I have a music-video background, and I feel like the responsibility of a music-video director is to do something that hasn’t been done before in a really cool visual way. So much innovation has come in filmmaking through music videos.
A director is a very selfish person. For him, his film is like his baby.
You have to write a good score that you feel good about. At least, you’re supposed to. But, if the director hates it, it ain’t going to be in the movie!
I’m not a betting woman, but I have $50 on Secretariat with an old director friend of mine.
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.
The director is a bit analogous to the conductor of a symphony orchestra. It’s a collaborative adventure.
My director, Monty Marsh, is really awesome – I’ve been working with him for years now.
I became, and remain, my characters’ close and intent watcher: their director, never. Their creator I cannot feel that I was, or am.
Ah, there’s a director. Astonishing, Spike Lee. A feisty guy, but a guy who’s, I think, incredibly misunderstood. I think people review his politics or his color as opposed to his filmmaking sometimes. Because he’s a wonderful, wonderful filmmaker and a lover of the art.
Every time I work with a European director, I find they hire the person that captures the spirit of the role. Americans tend to hire the best face. The person that looks more like the role, whether they can perform the role or not is a bonus.
So when I got the chance to do my first talk show, 50 years ago last month, I never had any writers. There was no budget – it was just me and the camera and my friend who was the director. I talked about what I’d done that week.
Use people whom you’re excited by and who share your excitement… The ideal collaboration is one in which the actor and director are saying to each other, ‘I can’t believe how lucky we are to be making a movie together.’
I never had a mentor. God, it would have been nice, but I just didn’t. I look up to Jane Campion. And my most favorite director Lynne Ramsay.
Maybe because I am an actor-casting director, I always felt that we need good actors in the industry and we need to bring them at the top.
Whether I’m writing the script, or someone else writes the initial draft, I’m always an actor’s director first. I always try to listen to them a lot and try to put their voices into their character.
In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason – the director cut according to the script. So, if you ad libbed, you’d be off mike and off camera.
When I made my first film, I didn’t think of it as directing, so it wasn’t like I set out to become a director.
The first comedy screenplay that I wrote was Animal House and I always thought I could and should be a director but no one was about to give me that opportunity on Animal House.
I enjoyed working with Vikram Kumar, as he is an amazing director who is full of ideas, and he tells me that he has different compartments in his brain in which he places different story ideas and works on them simultaneously.
The way we structure our deals is to work closely with the director. It is imperative to work with a studio because the way the film is marketed is crucial.
It’s an important thing to have a relationship with the director, and have it be a positive one.
You talk about what a director, he was smart. He said, Turn the camera on!
I think a director has to be a little in love with his leading actress so he will project her as the most beautiful woman in the world.
Marlon was more of a formal zoo director type.
As a director he was not that interested in Vader.
When you are doing stand-up comedy, you are the writer, producer, director, sometimes bouncer.
If I hadn’t left Texas, I might not have met the director Terrence Malick, and I wouldn’t have met my husband and I wouldn’t have had the children that I’ve had. Life is interesting like that.
Obviously I’d love to work with any of these great directors because every time I’ve worked with them I’ve gained a tremendous amount as an actor. Each director has his own way of pushing you towards improving yourself.
For example I don’t work with William Hurt the same way that I will work with Viggo. They’re different guys and they work in different ways. So a good sensitive director has his general style and technique and personality that he uses but you don’t impose that on the actors.
Nobody taught Picasso how to paint – he learned for himself. And nobody can teach you to be a producer. You can learn the mechanics, but you can’t learn what’s right about a script or a director or an actor. That comes from instinct and intuition. It comes from inside you.
Some friends of mine who are actors feel directing shuts them down and kills all their impulses, but the worst thing for me is if I feel a director hasn’t noticed.
The thing about For Better or Worse is the only thing that made me an okay director for that is that I have a sense of humor, and it was supposed to be funny.
A director makes only one movie in his life. Then he breaks it into pieces and makes it again.
If I feel the part is right, and I know that the producers and the director want me, I’d go for broke. Always.
As my other obligations are beginning to take an inordinate amount of time, I have asked to step down as WMG’s board chairman, effective January 31, 2012. However, I will remain a director of the company and in that way, continue my association with Warner Music and its extraordinary people.
The film of tomorrow will resemble the person who made it, and the number of spectators will be proportional to the number of friends the director has.
It’s a dumb question, because I don’t look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.
I got nominated for my second film as best young director in the Aikido Film Festival in Japan.
I’m an enormous fan of Ron Howard. I mean, he’s the most extraordinary director.
Sam Wood, the director, made most of his money as a real estate agent; there was nothing of the temperamental artist about him.
My wife Victoria Harwood was art director on ‘Far North,’ and she had designed my student film, ‘The Sheep Thief.’
I would never have become music director of the Chicago Symphony, which would have been an extremely sad loss.
If I’d said, ‘I’m going to be a director,’ it probably wouldn’t have happened.
‘Analyze This’ is a good movie because Robert De Niro and Billy Crystal are really good. But without the material to put on the play, of course, they couldn’t be good. For me, it starts with the writing. I always think that the writer is doing the vast majority of the director’s work, in a sense.
‘English Vinglish’ has given me so much respect. I am really thankful to director Gauri Shinde and her husband R. Balki. They blindly believed in me.
My associate director, Lisa Leguillou, is remarkable: flying around, visiting all the companies. She is truly the unsung hero of ‘Wicked’. She has been by my side from day one, and she is invaluable. I frankly don’t know how she does it.
Good evening, ladies and gentleman. My name is Orson Welles. I am an actor. I am a writer. I am a producer. I am a director. I am a magician. I appear onstage and on the radio. Why are there so many of me and so few of you?
I think every movie is its own little world, and a director certainly sets the tone.
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.
Masood Ahmed brings to the position of director of external relations extensive experience gained in a range of senior positions in international finance and development.
I like acting for myself as a director. I act and I know that I’ll have a chance to have some say in what gets used and that I’ll be able to give myself enough takes and be on the same page as myself about how the scene should play.
The pastor of a parish will typically have no education in the chant or in music, and he will hire the first music director who walks through the door.
I’m not going to be a coach or a director – they are not roles that I would like.
That’s why I had to leave Hair on Broadway, because I did it for about a year, and one night I was doing the show, and I realized, well, this is not real. I told the director. He says, man, it was a killer show tonight.
What I love about low-budget movies is my interests and the director’s interests and the actors’ interests are aligned. No one makes money unless the movie works, and that informs every creative decision.
When someone calls me a blogger, I think, ‘That’s one of the things I used to do.’ I’m a creative director for my shoe brand; I’m the editor-in-chief of ‘The Blonde Salad,’ which is a website and not just a blog anymore.
I worked with the best – Givenchy, Dior, Yves Saint Laurent – and it gave me an ability to be confident. It turned me into a CEO and a creative director and a brand.
When I was a crusade director in British Columbia, all of our meetings were at 9:03. Somebody said ‘That’s ridiculous. Why did you do that?’ It’s because you remember it. You’ve never been to another 9:03 meeting.
I was the one who kept telling my second husband he should become a cinematographer. I paid for him to get his director’s card, and he went on to make ‘Godspell.’
I remember breaking the news to both my parents that I wanted to be a director, and they both looked very doubtful. They didn’t know what a closet Hindi film buff I was. I used to dance to old Hindi films songs on the sly, so my decision to be a part of Hindi cinema was shocking even for my parents.
Every time you say yes to a film there’s a certain percentage of your yes that has to do with the director, a certain percentage to do with the story, a certain percentage with the character, the location, etc.
The funny thing about directing is that you have your own opinions, but it’s a collaboration. Directing is a group effort. Even though you might think something works, the smartest thing you can do as a director is try and weigh the opinions of the people around you.
The problem with independent films is that they can be hit or miss. I’ve seen scripts that have blown me away. But there have to be all the right ingredients in place to make them work: the director, cast, publicity, distribution.
But the privileges that one has enjoyed and exploited can sometimes turn against you: nobody thinks of you as a director, you are always an actress.
The director is a Canadian, Jeff Stephenson, and any time I get a script that has any Canadian component, I’m always immediately much more interested.
I mean, I’ve sold all these scripts and nothing’s been made. Studios have closed, stars have died. I had a director find Jesus. And the pictures just don’t get made.
The director can be a dictator, but it’s not wise to be. You have to choose the days to be a dictator and the days to deal with diplomacy and democracy. Every great leader should know that, even a dictator. Tyrants get overthrown.
When I was approached to remake ‘Vinnaithandi Varuvaaya,’ I felt that it was a good way to reach out to a wider audience, every director wants that.
I am working as public relations director for the Tour de France and maintaining my farm.
In feature films the director is God; in documentary films God is the director.
I had actually auditioned for a guest star role on ‘Legends of Tomorrow,’ and the show had the same casting director as ‘Riverdale.’
I won the Oscar for ‘Raging Bull’ for those fight sequences. If you look at those fight sequences, those were so incredibly storyboarded and shot in an incredible way – that is the conception a good director has to bring.
I can’t help thinking if she – the director of a government agency – is this ignorant about what funding is available and where the money comes from – how often lower-level bureaucrats must give wrong answers when people are looking for help to start a business.
But I don’t think of myself as a foreigner or a Frenchman! I just think of myself as a director.
One tries to be an observer as an actor and indeed as a director because the small things, the give-away things are what are really interesting to a performer.
The worst thing for an actor is a director that gets on your nerves and says things that actually confuse you.
I started out as an assistant to a director on two movies, Miguel Arteta. The movies I worked on were ‘Chuck and Buck’ and ‘The Good Girl.’ I didn’t even know I wanted to be a director until I started working with Miguel.
Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you’re a director. Everything after that you’re just negotiating your budget and your fee.
It’s not like I woke up one day and said, ‘Okay, I want to become a director.’
I think the wonderful thing about doing theater is that it’s more of an actor’s medium. I think that film is more of a director’s medium. You can’t edit something out on stage. It’s there.
I am a very impatient director.
I think of myself as a problem-solver. I want to go in and help the director and the writer to get the best they can out of the text they’re working with.
I’m an actor’s director. I love it when talented actors can bring characters to life.
My strangest auditioning experience was when I was reading for a TV show, and right when I started the audition, the casting director left the room and yelled at me from the hallway to keep reading.
Our intelligence community needs better coordination of operations and exchange of information, and that’s why we need an overall director of national intelligence and a national counterterrorism center.
A lot of the things that we’ve been able to do in the last several years were Democratic ideas, including the structure for this new director of national intelligence.
Sometimes the odds are against you-the director doesn’t know what the hell he’s doing, or something falls apart in the production, or you’re working with an actor who’s just unbearable.
You have to pretend to live in those clothes that they lived in, to live within the climate that they had then. You have to imagine with the help, obviously, of all the other technicians that are around – the writer, the director, the other actors.
If you think you don’t want to play another psychopath, but the script is amazing, and the director is fantastic, and the story is incredible, then you may end up playing your third psychopath in a row.
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.
You’d be surprised how hard it is getting the human emotional arc in a script to work. Ultimately a director stands and falls by their ability to do that.
A good director creates an environment, which gives the actor the encouragement to fly.
As for Tenacious D, of course it could work as a full length movie; all it requires is a great writer and great director with an ability to think outside of conventional film comedy.
What goes on between a father and a son, which is usually such a private matter, is that they are able to be honest with each other, and be honest with me, as a director. It’s just remarkable.
Direction is closest to my heart. I may run out of work as an actor as I get older, but I can work as a director even if I live up to be 90. I promised myself that I will direct a film every three years.
There are a lot of actors who will watch the monitors. They’ll do a scene, and then the director will look back to see if he got whatever he wanted. I just find it odd to sit there and watch yourself.
You have a right to your opinion about the work that you’re doing. An artist is as equally important as the director. If you believe that, you can work in any circumstances.
Jason Reitman is an amazing director; he’s really amazing with his actors and crew.
Every casting director I’ve met is a woman.
I have been connected with the Niels Bohr Institute since the completion of my university studies, first as a research fellow and, from 1956, as a professor of physics at the University of Copenhagen. After the death of my father in 1962, I followed him as director of the Institute until 1970.
The Director of the Laboratory, George Reynolds, was most supportive of my efforts to work independently. There followed for ten years a glorious time for research.
It is really a sad state of affairs if I am still the only commercially successful woman director. We need a lot more commercially viable women, not only in direction.
I want to support other women because of the opportunities I’ve had – and I’ve had a lot of opportunities. What I try as a female director is to do the best job I can and, in the meantime, bring attention to as many other female directors and writers as I can.
As a director, I also get to sit and watch actors and learn from them in a way that I don’t get to do when I’m just acting.
But I would like to think that it’s the actor that makes the difference in these cases. Not the director, not the guy that wrote the book, not the guy that adapted it for the screen, but the actor.
We expect ‘Narcos’ will be an enormous success throughout everywhere in the world and maybe out-index in Latin America, given the Brazilian star and Brazilian director and heavy Latin American cast and that we shot the show entirely on location in Colombia.
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.
You either are a good director or you’re not.
The problem with most Hollywood movies is they don’t give the director enough control.
We’re producing a movie now, ‘The Onion’ Movie, and it’s very difficult for me to be on the set. If I’m not right in the trenches, it’s very difficult for me to watch another director, because I’m not involved and it’s not exciting.
You’re in the business – when you’re a writer, producer, director – to get ratings.
I spent all my time on my movies worried that people were eating and that the schedule was being kept, so to have experts in those areas giving me the brain space as a writer and director is huge.
I’m doing a little consulting. I’m somewhat retired, still a director of a company or two.
I think there has only been one time in my entire career that I’ve ever gone back to shoot a scene. And it was a scene that, when we were shooting it, we knew that it wasn’t working. We knew there was a disagreement between the actor and director. So, we went back.
I think I have more of a director’s brain than an actor’s brain, in a way.
On a lot of shows that I’ve done, we had the same directors, which was cool. But then, it’s also great to do shows where the director changes every week, because you get to see all these different personalities and see what you like dealing with better, as an actor.
Huwaei receives significant funding from the Chinese government and is run by a former director of the telecoms research unit of the People’s Liberation Army. The components are feared to have given China the ability to disrupt or shut down key parts of the U.K.’s critical national infrastructure.
My dad took me for an audition once, to show me, ‘OK, you want to be a child actor, this is what it’s like.’ I sang a folk song about donkeys on this West End stage with this big director, and there was a queue of 200 girls all singing ‘Memory.’ I was terrible. Terrible.
I was definitely incredibly close to my dad, in a way that was all-encompassing. I am close to my mum, too, but there were areas that she and I did not share. So his loss to me was huge, personally and professionally. He believed in me, not just as a father, but as a director, and that always meant a lot.
I’m really a director’s actor. I rely heavily on a director.
What I feel is great acting might be rubbish for another filmmaker. There is no right or wrong way to do it. It all boils down to the trust between an actor and a director.
I wish I could say that when I didn’t agree with a director I defer to him, but I think sometimes I’m a little self-righteous.
The worst is when I talk myself into something. Sometimes you take things because you want to work with a certain actor, or you want to work with a director, even if the script or the part’s not that great.
You have to get it in your brain that you don’t belong to yourself as an actor, but that you belong to the director who creates the character.
But when you work with the director and the real person who is playing opposite you, it changes everything. You are almost in a working session. I was very comfortable, and that’s maybe what helped me to get the part.
I’m not aware that I was consciously influenced by any director, though these things often happen unnoticed, submerged in the unconscious.
I think, to be a director, sometimes you need to have certain hunches – you have to believe in some gut feeling.
There are so many effects and so many things that are done digitally now that it’s so hard for the director to really control the process, because there are more and more experts that come in.
For me it is important to mould myself as the director wants. That’s my challenge as an actor.
You show people playing poker or hacking into a computer; it feels so significant in the script, and then when you see it on the screen, it loses something. But there’s something about cooking – food being prepared is incredibly captivating. It became just a fun box of tools to use as a 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.
There was always a part of me that wanted to be an old-time director. But I couldn’t do that. I’m not a pro.
Do you know what I’m working on now? My first feature as a director.
We had a very energetic floor manager and he was always jumping around all over the place. The director would send down messages like, Can you tell that actor to calm down?
Yes, I was hired by Universal because they needed a comedy director. They had seen Scandal and liked it. I saw an opportunity even in those comedies to begin my project of American films.
Jim Brooks is a very powerful director and it was a lot of intense work.
To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.
I like Rebecca Miller and her writing. She’s a tremendous writer and director.
I will argue my points; I will have my opinions. But at the end of the day, it’s the director’s choice.
The ladder of success in Hollywood is usually a press agent, actor, director, producer, leading man; and you are a star if you sleep with each of them in that order. Crude, but true.
In Dreams… well, I was slightly overcompensating with that. I was a bit like a director for hire, so maybe I was putting too much imagery that was familiar to me into it.
My first job was in pantomime; I was a chorus girl in ‘Dick Whittington’ at 16. I got the part by ringing the director daily to see if anyone had dropped out, and it paid off eventually, when I was cast as a rat!
My father Kamran Khan was a successful producer, director and actor in B-grade films.
How people are around a director, it really does affect everything, every detail of the life of the movie.
Directing is more what I would like to get into eventually. Frankly, I feel like it would be a waste if I didn’t because I’ve spent so much time on film sets, and I know how they work, and I love them, and I love leading them. I would like to do that as a director definitely.
The Dead was cool, It’s a great horror story. I went to the casting director of this movie and talked to him, then they called my agent and had me come in and read for it and they wanted to use me.
I got a nomination for director, which means the world to me; it’s just the most exciting thing for me and my family. You do the good hard work, and the rest of it is something you shouldn’t get too caught up in, but when it happens – boy! I respect it.
When I first started my acting career, I only knew what my acting teacher taught me. When a director gave me an impromptu direction, I didn’t know what he wanted me to do, and I wanted to escape from the place.
It’s a director’s job to tell a story and he’s very well versed in telling stories with a bit of comedy in them and keeping the pace of the movie right and that’s exactly what he did. He was observant of a world he didn’t understand but he told a wonderful story.
I have been working in television for quite a long time. In television, the writer is the constant, and the director is rotated in and out. I am very use to dealing with people’s methods. And perspectives.
When an actor plays a scene exactly the way a director orders, it isn’t acting. It’s following instructions. Anyone with the physical qualifications can do that.
As a writer, you have control of the words you put on the page. But once that manuscript leaves your hand, you give control to the reader. As a director, you are limited by everything: weather, budget, and egos.
When you look at a movie, you look at a director’s thought process.
I don’t feel the need to direct. I tried to get other people to direct Dances, but they wouldn’t do it. They all thought it was too long. One director wanted to cut the Civil War sequence. Another thought the white woman was very cliched.
I’m very old-school. I like a director to direct me. I like to be the actor.
Because we’re Jewish, my father immigrated to Holland in 1933, where he became the managing director of the Dutch Opekta Company, which manufactures products used in making jam.
In every shoot, between the actor and the director there is manipulation. I’m not saying that negatively. It’s healthy.
Being a director, I’ve had the privilege of heading a PS3 launch title. Looking back, I think the PS4 has made the development cycle much easier.
I always want to work with a good director who’s backed by excellent producers.
Not at all, I wanted to go into medicine. I took science in college. But my dad was a Producer – Director in Kannada films, and someone saw me, and one thing led to another.
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.
The best thing about switching from being an actor to being a director is that you don’t have to shave or hold your stomach in anymore.
Any director, if you really ask them, will tell you that the toughest thing to do is like a dinner table or a dialogue scene, because you need to keep that electricity maintained throughout the course of the film.
During my six years with them Dr Garnet Davey (subsequently Research Director) constantly supported me and, I have no doubt, fought many battles on my behalf to keep the initially controversial programme going.
It’s fun to do something funny and have the director laughing. It makes you feel good.
After all, at end of the day, when you’re breathing your last, it’s not your producer, director, or cast mates by your bedside; it’s your children. Keep that in mind.
Yet as a director, I don’t feel you have to identify with your characters as a requirement to make a movie.
I need a producer who will look for a good script. I need a director whose purpose to make a film is not for his survival but because he loves making films.
An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.
I’m a storyteller – that’s the chief function of a director. And they’re moving pictures, let’s make ’em move!
My biggest role as director on the film is keeping a sense of the overview – how to cast the movie and shoot it in such a way that it will cut together. And how to design the style and tone.
Your audience gives you everything you need. They tell you. There is no director who can direct you like an audience.
When I show up to act in a movie for somebody else, I just want to be nice and helpful and do what they want because I know how difficult it is to make a movie. I don’t want to cause any problems. So you show up and do your job, and I think if a director understands that, you don’t make a lot of demands.
As a director, it is important to understand the actor’s process.
When I accept a role, I feel that as an artist I have to submit completely to the tutelage of my director. And while I expect to be heard and encouraged and honored, at the end of the day, man, it’s the way the director wants it.
The ‘transition’ involves the transfer of power from one president to another. In recent times, the incoming President has designated a Director of the Transition, a team leader, to oversee and administer the orderly transfer of power.
With Alien, because we always use a different director, each one kind of stands on its own. So I guess it’s possible for them to make another one, but we have no plans.
In my career, I have played a gangster, an ex cop, a journalist and a film director. Yet, the label of a serial kisser refuses to leave me.
‘Ashes of Time’ was my third film, and as a young director at that point, it’s not very often that you have the chance to make a big martial arts film, so of course I jumped at this opportunity.
The acting is something that will always be a part of my life, but the writing gives me a lot more creative freedom. You’re a pawn in somebody else’s chess game, whereas as a writer and as a director, you get to call the shots. And that’s very thrilling.
Usually, I don’t want to sit down and listen to the director gas on about his movie. I just can’t actually imagine myself sitting down and having that much to say.
Director Gary Ross has created an adaptation that is faithful in both narrative and theme, but he’s also brought a rich and powerful vision of Panem, its brutality and excesses, to the film as well. His world building’s fantastic, whether it be the Seam or the Capitol.
Different people have different styles, but there is an opportunity as a director to be a writer in every moment, with every visual cue and every piece of production design. Everything is a decision, and everything can be obsessed over.
But things such as ‘Harry Potter’, all I can do is shape my character, seek the director’s approval on that, and basically take it from there. Professor Flitwick in ‘Harry Potter’, I kind of defined how I saw him from reading the book, and luckily that matched up with the director’s vision.
I never thought being the producer was being the dictator. It means being the director and being the coach. It’s a way of keeping everybody focused on the goal, and also having final say. Everybody can be in the same car, but somebody has to drive.
In choosing any role, I ask the same questions: what kind of part is it? is the role challenging? does the director have a vision? is the story moving? etc.
I view the whole thing as a collaboration. As an actor, I always found that to be the most freeing thing, when the director would collaborate with you, so that together you’d come up with something exponentially better.
Quentin Tarantino is my 15-year-old son’s favorite director, and by that I mean no condescension to either Tarantino or my 15-year-old son.
Krishna Vamsi is a very good director.
Actors are accustomed to doing exactly what the director or writer requests us to do, and rarely get involved in that part of the process.
Lucio Fulci is such a massively underrated director. Everyone knows him as the Godfather of Gore.
I have only one rule in acting – trust the director and give him heart and soul.
What’s been nice is that I’ve been able to direct from a very idealistic place. I’ve never had to make my living as a director, which gave me a chance to choose material I feel passionate about. The directing allows me to not have to grab any acting role that comes along. I can pick and choose a little bit.
Interestingly, ‘October Sky’ is an anagram of ‘Rocket Boys’, the same letters just moved around. This was discovered by director Joe Johnston using an anagram program on his computer.
There’s a whole system in Hollywood where the director never speaks to the studio, but I like to engage them in a discussion. I listen.
I find it easier to play someone who is so far from me because you create someone – you build this person based on the story and the script, with the director.
I’m probably one of the worst actors as far as preparation goes, because I actually don’t prepare. I find it easier to read the script and whatever hits me in my stomach, like deep down, I just go with it. And the director kind of molds me whether to go right or left with it.
I don’t watch the movies I make, so I haven’t seen ‘Footloose’ since it came out. You see this young, hungry actor, it’s pretty fun. I was the only one they screen tested. It was an attempt by the director and producer to talk the head of the studio into hiring me because they didn’t want me.
A good director makes a playground and allows you to play.
Every movie you do, you find something in yourself that you probably didn’t know that you had, and a director will find something in you that you can nurture and find and bring for the next one.
From my side, I don’t put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director – that way, I think, I don’t get to do the similar roles.
I’m a believer in trusting the director.
David Mamet we all know is a great screenplay writer and playwright and a great director. If you like him, you like him. If you hate him, you really hate him. He’s someone who’s into controversy, you know what I mean? That’s David Mamet.
It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it’s got to be a great script and a great character.
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.
Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.
I’m a real director.
When I write something, I want the best director to direct it. And that’s not going to be me. So when David Fincher comes along and wants to direct ‘The Social Network,’ when Bennett Miller comes along and wants to direct ‘Moneyball,’ or when Danny Boyle wants to direct ‘Jobs’? Hallelujah. I want them directing it.
I was the first black director on ‘Dallas.’ I drove my car into the studio lot and the guard asked me who I was delivering to.
It’s cool for me because I’m a director, but I’m also a teacher. I’m a lover of cinema, and I love working with people who are hungry and have the energy to really do better work.
I’m supposed to be the director of a television company, but I’ve only ever seen that company as a vehicle for making the kind of programmes we wanted to make, getting our ideas on the screen.
I got a script sent to me at this office and I got a call from a woman – Universal’s doing a snowboarding movie. I’m not in it yet, but I’m supposed to meet with the director in New York soon. I’m waiting to hear back from them.
Larry Kasdan is a great director.
Censorship should never go. But we can always give a little more space to the director.
Once the director calls for action, we act; we stop when he says ‘Cut.’ It is sort of like meditation – unknowingly, you are moving out of yourself, becoming someone else. That is why I consider acting a form of meditation.
I would love to get great performances from actors as a director, because that’s what I’m always looking for, a director that’s going to help me go places I’ve never been before.
You know, as director of the CIA, I got an awful lot of intelligence about all the horrible things that could go on across the world.
If you do well as an actor, a good director will pick up on it, and keep it in the film.
Most screenplays depend primarily on the vision of a director.
Obviously, if a director doesn’t communicative a clear, relevant vision of the material, it will not succeed no matter how good the material.
With a book I am the writer and I am also the director and I’m all of the actors and I’m the special effects guy and the lighting technician: I’m all of that. So if it’s good or bad, it’s all up to me.
It’s natural for any actor that segues into directing to be an actor’s director. You know how to relate to the actors.
I had a director who told me a story about a fan who had commented on how nice it was to see her sister laughing and how happy the show made her. I like to make people happy and make them laugh.
And I think one way or another it’s evident to those who work with me that as a writer, a director, a friend, as somebody’s there that’s very anxious to get the movie made.
I would love to occasionally do English-speaking films, but the script is as important for me as the director.
I just knew how to do the one thing I did, and whether I did it well or not depended on who the director was.
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.
But you really – I always think that a director has got to adapt to whatever the needs of the actor are. You know, so if you take someone like Eddie Murphy, who is not a big fan of rehearsal. You know he comes out of stand-up. He comes – it’s all about capturing the moment – in the moment, you know.
The love scenes that worked, regardless of the director, were the ones where the actors weren’t fearful. When somebody was fearful, you could see it right away. It takes you out of the story, and that’s to be avoided at all costs.
I think TV is much more the writer’s medium and film is about the director and their vision and how you can collaborate with them and see that through to the end. They are so different.
On stage, the audience watches from a fixed viewpoint and the director cannot retake something he doesn’t like. It has to work straight through.
Kelly Preston is a remarkable human being and a great dramatic actress. It was a privilege as a director to tap into this part of her. Rarely do I make a kind of spiritual connection with my cast. Kelly was a wonderful exception. She is truly very special and I adore her.
Egotism is not a good quality. It’s not something to be admired or even tolerated. It wouldn’t be tolerated in a field commander and it shouldn’t be tolerated in a movie director.
Tell me one director who will go on record to say that I don’t get along with them? I get along famously with all my directors because I am what I am today because of them.
There are definitely reasons to do certain things, but I like to stick to good director, good actor, good script.
I can tell you that from the director’s chair, young actors love to be challenged, to be given killer lines that take time to wrap their mind around.
I have no idea what makes a director believe in me that I can sell these kind of roles.
Snoop Scorsese, that’s my director name.
A director, I forget who, told me that it takes 30 years to make an actor. And I believe that. You have to learn your craft, learn your trade – and also you have to live a life and experience things.
This is indeed not only relevant to Documentary but is evident is most type of film making. The film often mirrors the experience, understanding and politics of the director.
‘Brotherhood of the Wolf’ is a very important movie because it represents something new. The director Christophe Gans came up with the idea of taking a French legend and making it some kind of really strange, almost Chinese action movie. The result is something that I haven’t seen anywhere before.
The performance of a music director should be judged in a holistic manner, which includes songs as well as background score.
It helps for actors if you have one director.
I was thrown in the deep end at 18 when I got cast in a movie that I didn’t audition for. The director just sort of found me and put me in a film, so the decision was really made for me.
David Mamet was great to work with. He was everything that I thought he would be as a director. He’s incredibly articulate, an easy collaborator. Extraordinarily knowledgeable about film and writing.
You need these experiences. Just know that sometimes, the director has a specific look in mind.
I love working with new directors. There’s so much drive and effort. It still comes down to the character for me, but if it’s a character I really want to play, I would never not do the project because of a new director.
I wasn’t a star and I wasn’t a handsome person, so I thought I would become a burden for director Shin Won Ho.
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.
You have to steal a lot. You have to have a criminal mentality to be a film director.
There is a kind of thinking in the Church that wants to reduce the priest to a mere functionary, a managing director, where administration rather than doctrine and worship are to determine the form of the Church.
When you have a good director, everything is taken care of.
For us, as actors, and even for the director, it gave us a sense of authenticity to what we were doing because we were talking about Hollywood and we were in Hollywood.
‘Aashiq’ is a romantic film, even though my character is a rather aggressive guy. You could even call it an intense romance. And working with Indra Kumar has been an excellent experience. He is a great director.
It depends who the director is you know, I mean Ken Loach for instance. I’ve done up to 32 takes with him.
My job, as an actor, is to give the director options. You can only hope that the takes that you thought were the best were chosen. But, then again, if I don’t watch it, I’ll never know.
Safety from external danger is the most powerful director of national conduct. Even the ardent love of liberty will, after a time, give way to its dictates.
If a film is very clever and well-written, that’s what gives you freedom as a director.
I heard that the same thing occurred in a scene in Alien, where the creature pops out of the chest of a crewman. The other actors didn’t know what was to happen; the director wanted to get true surprise.
I choose my work very carefully, always for the script and the director, and I don’t think that’s going to change. My work is like a house. It’s built on very strong poles.
It does make you a better director and a better actor.
A director should cast a person who fits into their script.
My interpretation of a strong director is someone who knows their story. That’s what directors are, they’re storytellers because they’re directing where your focus is going to be as an audience.
My interests were aroused, and my faith in the cliches of the subject destroyed, as so often with other subjects, by the discussions with my friend, Aaron Director.
I tend to project my father figure onto any director that I’m working with, or mother, if I’m working with a female, or it can be confused.
If someone suddenly lost their director the day before shooting and wanted me to step in, I’d be willing to. But I’d do brain surgery the same way. I’m always up for something new.
I learn a lot from every director that I work with. I sit on set and watch them, every one.
I’m trying to work only with established, respected directors. I took a lot of bad scripts and worked for a lot of lazy directors, and it was discouraging to go to the screenings and see that the director had added nothing, the editor had added nothing, there was nothing to see.
For me it was more than passion… it was more like an obsession to become a director.
My first time nude was with a woman director, so I thought it would be easy, but it wasn’t.
I’m happiest when I can just be a director and watch.
My husband’s a director, so he understands what I do.
Despite being such a brilliant director, Hansal Mehta is a simple and down to earth man. He is very sorted and driven by passion. So that’s a rare combination – being a good craftsman and a good human being.
My first March for Life was in 2010, three months after I left my job in the abortion industry as clinic director at a Planned Parenthood in Texas. It was intensely emotional, shocking in many ways, especially the outright love I saw in the faces of people who I once considered enemies.
Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.
I realized that I need to protect my films because the director will move on, the producer will move on too, but as an actor I will be considered a flop if things will not work.
I loved cinema while growing up and, for the longest time, wanted to be a director.
When I walked in to read with Edie Falco, it was nice, because I auditioned in New York, and it was very quick. You walk in, there’s Edie, the producers, the director, and a camera. I read three scenes, and it was done.
In cinema, the leading player is the director.
It’s a very tricky relationship, the cinematographer and the director as a woman.
I guess I say this for younger actors out there: you have to be brave, and you have to be ready to fail, and that’s the only way you can be unique. So when a director is confident enough in what they’re doing, and they allow their actors to be brave and bring in stuff, the more likely it’s going to work out okay.
Having a director who is also an actor makes for that very relaxed way of working and it’s empowering.
I wanted to be Steven Spielberg, Tim Burton, Stanley Kubrick, David Cronenberg, Ridley Scott, James Cameron, and Hitchcock. I’d wanted to be a director since 13, and horror and the suspense thriller were the most powerful genres to me.
I don’t care about names attached to the script. That doesn’t matter to me. All things being equal, I would like to work with a good script with a good director, and the part I play is of less important than those two factors.
Since stepping down as laboratory director in 1999, I have devoted an increasing fraction of my time to international issues. I am involved with energy, environment, and sustainability issues, particularly as they involve new energy sources free of greenhouse gases.
There’s been a slow death in a way. On the positive side, there are films getting into the Academy Awards that wouldn’t have, but on the negative side, financiers are now dominant and making all the decisions. I can’t count the ways a director’s vision is compromised.
After I finished my degree in Mass Communication in Manipal, I enrolled for a cinematography course in Pune Film Institute. That is when Nandini Reddy, the director of ‘Ala Modalaindi,’ convinced me to act.
Truth be told, actually, my favorite director of the Movie Brats was not Scorsese. Loved him. But my favorite director of the Movie Brats was Brian de Palma. I actually met De Palma right after I’d done ‘Reservoir Dogs,’ and I was very beside myself.
Historically the director has been the key creative element in a film and we must maintain that. We must protect that, in spite of the fact that there is new technology that’s continually trying to erode that.
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.
I have always believed that when a film is being made, it has to be the director’s vision.
This is the problem I have: I write a play and I give it to a director and they say, ‘I’ll do it one condition: if you play the role.’
It was weird because I was pregnant, throughout that so it was weird being a pregnant witch. I was in a really bad mood but luckily, because I sleep with the director, he just sort of scheduled me so I only had to do it two nights.
I was six years old when I saw my first Godard movie, eight when I first experienced Bergman. I wanted to be a director when I was fourteen.
When I feel like being a director, I write a novel.
I was a child actor in ‘Deliverance,’ but not the banjo player. It was my dad’s big movie as a director, and at the very end there’s a scene where Jon Voight comes home to his wife. I played his young son.
The director respects what they’ve hired you for and chosen you for: to do the part and respect what you’re doing.
Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.
My favorite parts of work as an actor and a director are those unplanned mistakes that do happen, because it’s like catching lightning in a bottle. It’s the best part of what we do.
I was taken to one place by a director, and he bought me a lap dance.
I follow the director’s lead because they generally know more about the big picture, but I also trust that the director will give me enough freedom to play.
When I did ‘Kaaka Muttai,’ I was a very raw actor. Director Manikandan brought out the best in me.
Richard Marquand, on Jedi, was very much an actor’s director.
I got space from Travis Air Force Base, went back to the Philippine Islands and made it a point to meet the only American casting director in the Philippines. I was off and running.
Pinchas Perry, the director of ‘The Chicago 8,’ offered me the role of the judge, and he did not know that, 35 years earlier, I’d played a judge in the theater production. So life has its own little twists and turns.
Sabrina ran for seven years with a different director every week.
I became a director by accident. M.S. Raju garu asked me to direct a movie, and I said OK. It all happened in 5 minutes.
Gastronomy is my hobby. I’m simply the casting director. Once I’ve brought all the right people together, it is they who must work together to tell a story.
George Tenet has been the director of central intelligence since 1997, time enough to have changed the Agency’s culture. He has failed. He should go.
The fact that I’m sleeping with the director may have something to do with it.
As a director, I never feel that I have the answers.
David Fincher is a longtime friend. As a director, my wife had worked with him as a makeup artist when he would do Madonna videos years before, and his child and my oldest child were in preschool together, so we’re kind of dad-friends through that, too.
In the end, it’s acting, it’s not real. But every director will tell you that you have to create conditions that create tension, because tension is what makes drama feel real.
I only travel to good material, a good director and a good company. I won’t work in another country for a year any longer, because I have a lovely wife and I adore her and I can’t bear to be away from her.
I always choose my projects for the script or what the director want to tell with that story. And if I like the story.
I wanted to do – there was this film called ‘Magic’ that Anthony Hopkins did. And the director wanted me. The writer wanted me. Joe Levine said no, I don’t want any comedians in this.
I found it to be more challenging to be in a huge effects movie, because a lot of the things aren’t there. You have to trust the director and react to nothing.
Every movie you attack has its challenges, and I was excited about the challenges presented by ‘Deadpool.’ I was a huge fan of the original, and I think, as a director, you have to put the script first.
I’ve found that the more experts you have on a movie, the less control the director has.
I argued that until FBI director James Comey gives a green light to new visas, and not until we completely reform the vetting process for new foreign visitors, that the borders should be sealed.
When I am shooting, I am inside the theatre, when I am in the editing room, I am inside the theatre. I always try to feel what they will feel. I see a film, not as a director, but as the audience. If I am entertained, they will be, too.
Do whatever you’re directed to do, and leave the rest of that technical stuff up to the director.
I used to work for an NGO called Transitions Online, and I was their Director of New Media. I was a very idealistic fellow who thought that he could use blogs, social networks and new media to help promote democracy, human rights and freedom of expression.
You hope and pray that you’ll get involved with a director that you understand and who has the same sensibility as you do and knows how to push you and bring out the best in you.
I play the guitar. This year at the Sundance film festival, I joined the band from ‘The Guitar’ on stage. We warmed up for Patti Smith, and then the director Michel Gondry got on the drums to play some songs from the soundtrack to his film Be Kind Rewind with Mos Def. It was pretty mad.
Every part I’ve done has been for one reason or another-money, or the part, or the director, or the location. I’d like to get one thing that’s all of those combined.
I never suffered from the absence of a father. On the contrary, as a child I was more inclined to see men as a disturbing factor. It made things difficult for me when I started working as a director.
When I meet a good actor, I would like to be a director. When I meet a good director, I would like to be an actor. When there is a good script, I would like to be both a director and an actor. The switch is very natural, not intentional.
I am excited to work with Vikas. Whenever I tell people that I am doing a film with director of ‘Queen,’ they are like, ‘Wow, good for you.’ That makes me feel really good, and I feel fortunate to be the chosen one.
I wanted to be a director and comedian and my plan was to go to NYU. I wanted to be in UCB.
I feel fine, I don’t care who the director is. All you have to do is know what your doing – all of us – everybody in the business – that’s all you ask anyone – you know your job, I know mine, let’s go do it.
The thing is David is also aware of everything and it’s not like you’re going somewhere the director is not.
I do a film because I like the story and I want to give life to a character – I don’t necessarily have to agree with the director.
Normally, I rely heavily on my director to massage me out of my actor comfort zones.
What I’ve learned is sometimes it’s good not to have all the same actions and have all the same takes. The variety you provide gives the director later on in post-production the ability to construct a more interesting performance as he puts the movie together.
I think Polanski’s an amazing director.
To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.
As a producer, I probably am a little stronger than most, since I was a director originally.
No director is independent.
Most actors are insecure enough already without having a director who adds to that.
Every director is completely different.
In the re-creation of combat situations, and this is coming from a director who’s never been in one, being mindful of what these veterans have actually gone through, you find that the biggest concern is that you don’t look at war as a geopolitical endeavor.
Now, I have big-money offers on three movies, and I have director approval. That’s kind of scary,’ he says. ‘No directors have been attached. That’s a lot of pressure on me.
And I think being a good director is being able to be completely tyrannical and you’ve got to be an absolute dictator while at the same time, you have to listen and see everything because it can all change on a dime.
The first thing you must know as an actor or director is the space you will inhabit. See the architecture; imagine where things can happen in space.
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.’
Being on a set where the director has lost control is just sickening. No one goes the extra mile, there’s a lot of eye-rolling… it just breeds inertia. If a director is in control, the crew follow their leader. But the second anyone senses the directors are not sure, people just swoop in.
So yeah, a good director will be able to listen and hear everything, but have a confident vision of his own that he can say, ‘oh yeah – that’s a great point.’ And you never know; often you can help far more than you think you can, because there’s so much more that he’s juggling than an actor.
Tarantino is the coolest damn guy; he’s just so much fun to work with. He might be the best director I’ve ever worked with. He just seems to know how to do it and he knows how to make you feel good about it. He’s having so much fun you start having fun. You can’t help it.
The first thing is that we’re being attacked by both the Writers Guild and the Producers Guild. Both of these groups are trying to diminish the importance and strength of the director. They’re trying to do it through both frontal and side attacks.
I had never really acted before, so I really didn’t know what I was doing. The casting director for ‘Euphoria’ set me up with an acting coach in New York, and he completely flipped my world around. The way you learn to utilize your brain and your emotions really freaked me out.
A director should not define everything. For me, the movie is a form of a question I pose to the others or to the audience. I want to ask their opinion on my point of view and discuss it with them.
The National Intelligence Director needs the authority to do the job we are asking him to do. That means power over the intelligence budget. And to be effective, to be allowed to do his or her job, they must have authority over the budget.
I suffer from a more complex, persistent fear. It manifests itself in nerves, and on film the camera sees even the tiniest evidence of this. So you have to learn that when the director calls ‘Action,’ you don’t go to this place of tension, but somehow you become free.
I’ve loved musical theater ever since I was a kid. My mother’s a pianist, and my grandfather was an amateur theater director and stand-up comic. And I was an only child. And I loved attention. So from an early age, my family was teaching old musical songs.
The way I see it, when I go out as an actor, it should be on a type of film I’m never going to do as a director.
The director, of course, was Bob Fosse. But again, I worked with my father to prepare for the role.
The joy about the recording is that you are your own boss. You don’t have a director telling you how to do it.
I would first recommend we appoint a Police Director that commands the respect of the rank and file.
I’ve tried to stay out of the frame more as a director.
I worked with Roger Moore on three episodes of ‘The Saint.’ He is a lovely man, a good director, and was my favourite actor to work with.
From my experience as an actor, choreographer, action director, and producer, I understand the elements and the dynamics of being a film maker.
On every movie I’ve done as a director, I look at the producers and having done it, I don’t envy them, at all.
My college training was primarily in theatre, with an eye to becoming a director, actor, or producer.
I don’t come in with any preconceived ideas, and although I will have done some preparation, I can go which way the director wants.
For any director with a little lucidity, masterpieces are films that come to you by accident.
I had pictured myself as a filmmaker but I had never pictured myself as a director if that makes any sense at all.
Sirk was every woman’s dream of a director.
We need to make is to strengthen the position of the director of the CIA.
There’s people constantly asking you for something on set, so the multi-tasking of motherhood transfers very well to being a director. And I think you’re compassionate.
The lead actor, along with the director, plays a big role in what the vibe will be on set, and that’s a huge responsibility.
I do think that’s so much a part of what being a director is – in working with actors – to really try and be sensitive to what each actor needs to get to where he wants to be.
The director is planning on titling the film ‘Yummy Fur’ so we are probably planning on changing the title of the book to ‘Yummy Fur’ to match the film.
You don’t realize it, but often people are frightened of the director.
My worst fear is to not able to understand what my director wants me to do. I might not be able to reciprocate to his idea or vision. I may not be able to perform before the camera. Those are my worst fears.
As a director, I’ve been able to combine with what I’ve learned as an actor and as a producer: it melds quite nicely into what I feel like I should have been doing all along.
I couldn’t be a director because I couldn’t put up with the actors. I don’t have the patience. Why, I’d probably kill the actors. Not to mention some of the beautiful actresses.
As a producer, the most important call you can get is on Saturday morning, when the Friday-night grosses come in. As a director, you want your film to be successful. But your outlook is a bit different. You become very conscious of the reviews.
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 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.
My work ethic is crazy. I’m a producer, an artist, and a video director.
I didn’t dream about being a director. I didn’t know I wanted to do something with film until the summer between my sophomore and junior years at Morehouse College in Atlanta, Georgia.
The idea, as a director, is to be able to bring everybody on board and to inspire and give energy to everybody and to explain specific color, specific ambience. I need to be very precise, but I think I’m a better director when I’m more a channeler than a dictator.
I provide the bricks and mortar with the words and situations – the director and the actors and the designers build the house.
We as comics do want an immediate response from the audience. It’s really quiet on the set, and there are only the producers, and the director, so a comic is looking for someone to give a reaction, even if it is the camera guy.
I would like you to consider the difference in the time from 1963 to date. The FBI, at that time, was headed by Mr. Hoover who had been appointed Director continuously. He had, I would say, a good reputation.
Acting was a lot like football. When you’re a DB and you’re one on one with a receiver, you’re going to dance. It’s go-time in front of 100,000 people and everybody watching on TV. That’s exactly how it is when a director says ‘Action!’ It’s the same adrenaline rush, the same training process. I love it.
Clint Eastwood is an extraordinary director because he knows the value of a buck. He knows where it will show on the screen.
Well, I wasn’t just kind of standing in a queue at McDonald’s and someone sat down and said, ‘You’re the director of a $100 million Hollywood movie.’ I’ve been working in commercials for ten years.
I always go crazy over every scene and have to discuss it with my director many times. Even Sekhar Kammula, who directed me in ‘Fidaa,’ knows this.
I think every director has a different take, some are good, some are bad. The directors you get on best with sometimes don’t make the best films, so who’s to say who is right.
And I may often question choices I make as a producer. But I’ve never questioned the choices I make as a director.
There’s no doubt about Prakash’s abilities as a director.
I try to be in the office as much as possible to get the full experience working with volunteers, making phone calls, putting out signs – things that the communications director probably normally wouldn’t do.
An established film director can just pick up the phone and say to a star, ‘Hey, are you interested in doing a commercial?’
I don’t think anyone can really make up their mind and say, Now I’m going to be a director.
Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can’t leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.
How do I let the director know how obsessed I am and willing to do anything for the movie? Like, I wanted to write this one director a letter, so I wrote him a handwritten note. But then I was like, ‘How many people are writing this guy handwritten letters? Is it going to seem cheesy? What do I do?’
The magic doesn’t come from within the director’s mind, it comes from within the hearts of the actors.
I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director, and has an amazing ability to express himself, and he doesn’t do it in musical terms, he does it in emotional terms. I got along really well with him.
My mom is Episcopalian; my dad is ancestrally Jewish but personally atheist. After their divorce, however, my dad married a Jewish spiritual director, and I became fascinated by the traditions she brought into our lives.
Every director has their own unique working style.
I need creative satisfaction and only then I can move in as a director.
And later I thought, I can’t think how anyone can become a director without learning the craft of cinematography.
I’m an actor’s director.
I got my MFA from AFI as a director in 2010. I’ve had time to make the shorts that I made previous to ‘Hereditary’ and to kind of build these movies in my head.
A director just pushes them a little this way or that way.
I choose movies, I never choose roles. I look at the script. I look at the director. I look at the other actors – and then the role.
Acting is the work of two people – it’s only possible when you have the complicity, the help, even the manipulation of a director.
I do feel that I need to do at least one more Western – I think you need to make three Westerns to call yourself a Western director.
I think a good director is a good listener.
My parents said, Oh, he’s going to be a director someday. I wanted to be an actor.
But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it’s actually easier and more interesting to listen to notes.
What I promise to my actors, and to my director, is to give them the salary and everything they need.
A good script and a good brief from the director is enough to let me know what is expected of me.
I had never thought of myself as a director and found out that I was not. I am a writer who was able to direct the films that I write.
What you do is get the right director and the right screenwriter and the right cast. It’s a fantastic job.
I don’t know a single collector or museum director who says: ‘Oh, he’s on a list, so I think I’ll buy something of his.’ The people who buy my art put a little more thought into it than that.
Tim Story is a fantastic director, and I’m so excited to get to work with him.
There has never been a female director who has won an Oscar. There has only been one woman who won at the Cannes Film Festival.
The director sent for me for Tarzan. I climbed the tree and walked out on a limb. The next day I was told I was an actor.
As an actor, you’re always at the service of somebody else’s vision. In a play, it’s more of the director’s vision, and he or she’s got their hands on you all the way up to opening night, and if it’s a film, there are even more people.
It is an honor for me to accept the position of men’s artistic director for Louis Vuitton. I find the heritage and creative integrity of the house are key inspirations and will look to reference them both while drawing parallels to modern times.
Most of the top actors and actresses may be working in ten or twelve films at the same time, so they will give one director two hours and maybe shoot in Bombay in the morning and Madras in the evening. It happens.
I agree that at the end of the day, it’s a man’s world, but when I’m doing a film, I am working with the director, not a man or a woman.
The first thing I ask when I’m offered a part is, Who’s the director? which is something they never understand in Los Angeles.
An actor finds things in the moment with a director and other actors that you don’t have time to hand-draw or animate with a computer.
I sketched out a rough story for them and the director said, well it’s a good story but we have the go-ahead from Universal to make this script and did I want to do it. I said no, and they left.
When I worked on Altar Boys, they wanted to see us having fun. The four of us would have fun on set and steal each other’s lines, and mess with the director.
So I write melodies – thirty, forty, fifty – then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide.
There was a Russian director named Elem Klimov, who did his films during the communist days. They were constantly struggling with the authorities and to be allowed to express themselves. But he did one of the best war movies I’ve ever seen – it’s called ‘Come and See.’
I want to work with a director who becomes my brother, my father, for two months. You give yourself over to that person.
I was director of governmental affairs at the Cleveland school district. I served in the administration of Mayor Michael R. White.
I had read too many memoirs that were written after the writer or the director was past his or her prime.
How can you have a director that doesn’t go to work with the crew every day and talk to them?
I don’t think of myself as a director or writer. I think of myself as a filmmaker.
I have to say that whatever decisions I make, I really do think that movie making is a director’s medium. They are the people that ultimately shape the film, and a director can take great material and turn it into garbage if they are not capable of making a good movie.
In England, I’m a horror movie director. In Germany, I’m a filmmaker. In the US, I’m a bum.
I did a film called ‘Nightfall,’ based on Isaac Asimov life, which was directed by an American director. However it was a short film.
I hooked up with director Jacques Audiard for this film called ‘Rust & Bone’ with Marion Cotillard. I loved that experience so much I’m truly sad that it’s over!
I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.
I’m never happy with the work I put in. No. I need to be told by my director and people around me that it is fine. Otherwise, I’ll even go, like, ‘One more take.’
The director is the only person who knows what the film is about.
The movies I like to make are very rich and full of passion. Some people see me as an action director, but action is not the only thing in my movies. I always like to show human nature – something deep inside the heart.
I think Van Sant is the most important American director we have. He takes the most risks. He’s just pure to me.
I started out as a writer and a director. I started acting because I wanted to know how to relate to the actors. When people ask me what I do, I don’t really say that I’m an actor, because actors often wait for someone to give them roles.
Yes, they allowed us to play around a lot because, like we said, the director’s such a good comedy director.
I didn’t so much choose the film as director Claire Denis chose me.
Frank Capra, Hollywood’s Horatio Alger, lights with more cinematic know-how and zeal than any other director to convince movie audiences that American life is exactly like the ‘Saturday Evening Post’ covers of Norman Rockwell. ‘It’s A Wonderful Life,’ the latest example of Capracorn, shows his art at a hysterical pitch.
I had no plans to be a director.
Judd Apatow is pretty good, both as a producer and as a director.
If you have a script that’s not great, if you have a great director, you can make a great movie, but if you have a great script with a director who’s not good, never are you going to have a good movie.
My brother’s a grip. My mom’s a scriptwriter. My dad’s a director. So it’s like, at heart, I’m a below-the-line girl.
I hate to sound like Julie the cruise director but it’s people that I think about all the time.
If you’re a movie actor, you’re on your own – you cannot control the stage. The director controls it.
Films should involve a director’s idiosyncrasies as much as possible I think.
I feel like the books were just written like a movie. You read it and you can just kind of see everything. Before I went in to read with the director, I read the first book and I loved it. I didn’t realize how good the writing was. And then I went in and read with Gary Ross, and that was it.
Every film you work on is different, and that’s part of what it’s like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that’s not just those two departments.
I’m not like one of those actors who’s a frustrated director.
I believe in hard work, not luck factor. The best efforts will reap the best fruits. Nobody can take all the credit. We don’t even talk about the efforts of the director, the writers, other technicians, etc. They all together take a film to another level.
I’m trying to interpret the film through the director’s head, but it all comes out through me. So, a composer is kind of like a psychic medium.
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 you would expect, I come from a business background, and the idea that a finance director would be somewhat not working closely with the CEO of a company is very strange to anyone in the business world.
The cinematographer’s basically translating the director’s vision into imagery.
It became very clear to the director that it would be foolish not to use our friendship. I had tried to talk to him about it because all the relationships in the film are so, not negative, but antagonistic. There’s not a lot of love going around.
For me, being a director is about watching, not about telling people what to do. Or maybe it’s like being a mirror; if they didn’t have me to look at, they wouldn’t be able to put the make-up on.
So whatever I might have started to learn at that age was all undone by the next director and next crew in the next cheap picture, because I was allowed to get away with murder.
I have no interest in directing. I’d be a bad director.
Being an actor really, really strengthens me as a director. There’s just a certain type of understanding that comes from having been there and knowing how much is really being asked of actors that helps me.
You are treated like a cog in a machine. The director might be obsessing so much with the stunts that he doesn’t notice your performance, and the producer may just be an insane money man, but I have no snobbery about the movies.
I was taking hitting clinics every chance I got. I really worked on it. It was just fun to be given that invitation from the director to make the baseball as good as we can.
I think a first-time director always has to convince a lot of people that they’re ready to do it.
I was fishing with director Frank Capra once and we talked about retirement.
It’s not like every director in every movie is seeking me out by any means, there are a lot of things I’m not suited for, a lot of things I’m not interested in, and a lot of things that directors wouldn’t be interested in me for.
One thing about being a stand-up is it’s a one-man show. You gotta do everything. You’re the producer, writer, director, and the actor. You just gotta be out there and perform and give your all. It’s such an honest form of art that it just taught me so much, and it kind of prepared me for manhood at an early age.
I always claim that the writer has done 90 percent of the director’s work.
I was lucky to have my wife as the art director, and it turned out to be quite something – a great success. I’m very proud of it.
I think that it helps that I have acted. That said, it doesn’t mean you’re going to be a good director.
I really think the mind of someone who hasn’t been welded into place by their work or studios or actors or this whole society is a wonderful mind to work with, so I’d like to do a big picture with an unknown director.
If being an attractive woman got you attention for directing, then the entire ‘best director’ category would be comprised of models. To me, that is just the most ludicrous connection that you could make.
The process of making a movie has expanded in terms of effort and time for the director, doing commentaries for the DVD for example, finishing deleted scenes so they could be on the DVD, and doing things like a web blog.
Indeed, the actor’s lot is a much harder one than that of the director’s, from one simple standpoint: The actor has to play the eight shows a week.
It’s the first film that I made where the director was not present under the camera, and it threw me.
My dad always told me that I should have been an actress, but that wasn’t really my main focus. I really love to be the director, the person in charge, making my fantasy come to life. But if I love someone else’s fantasy, I’ll definitely help them bring theirs to life, too.
As the director of an opera, it is my responsibility to unify the style of the particular performance, but one can certainly approach the piece from different points of view. That’s what makes it interesting and keeps it alive.
I don’t want to be a director. I want to direct. There’s a difference.
The best director is the one you don’t see.
While a lab Director can get done the things that he regards as important, he has the more important job of bringing out the best ideas of the broader scientific community.
Casting sometimes is fate and destiny more than skill and talent, from a director’s point of view.
Your intention going in is to do the best you can. You go in and do your work, day to day, the best you can. But it’s entirely up to the director and the editor and the producers and the studio how it turns out.
I’m so bad at dancing that I’ve actually been in two movies where the director of the film saw me dancing and thought it was so funny that in one movie they had me do it as the mental dancing of a real simple person. The other one was, like, to-be-laughed-at dancing. That’s how bad my dancing is.
When a director narrates a character, I find it normal to ask questions about the character’s background, mood swings, eccentricities, behaviour… I do this to make my performance relatable. Directors who don’t know their characters well find it difficult to answer these questions and, hence, find me annoying.
I don’t know how it is in other industries, but as far as our industry is concerned, everybody takes their energy from the director. I myself was very exhausted, but I was acting as if I was full of energy and was pumping it into the whole team.
I was born in Florida. My first political campaign was as a field director for George Herbert Walker Bush in 1988.
There was an interesting article in Los Angeles Magazine about women directors. A woman director makes one bad independent film and her career is over. Guys tend to get an opportunity to learn from their mistakes.
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.
I think, frankly, that I’m a better director than I was an actor.
Every director is so different from every other one.
My sole inspiration is a telephone call from a director.
Also, I plan to screw something up on every movie I do so that I can learn from my mistakes and become a better director with each project.
The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.
I am not the kind of director who sits in a chair smoking a cigar talking with a microphone to 10 assistants. I need to move. To touch. To put a painting on a wall. To arrange a set.
I think that for the actors, the last thing that they want is a director that’s not watching, a director that goes ‘Okay, it sounded good to me,’ and they were doing something else or preoccupied with something else because they were worried about the light changing.
I worked at Planned Parenthood for eight years, rising through the ranks from volunteer escort to clinic counselor to clinic director.
I guess people feel that if you’re working with good directors and are known in the Hindi film industry, then you won’t work in South films. However, I believe that films have no boundaries of language, religion, or cast. If it’s a good script and a good director, I can do a film in Spanish as well.
A little secret – I’m the child of a shrink. I am; my mom’s a shrink, and my father’s a lawyer. So believe me, I analyze and negotiate. That is a huge amount of the director’s work, especially when you’re working with people who – such a variety.
Producers now look at the talent and if they believe that the director has the potential, they are willing to shell out the money irrespective of the gender.
If I weren’t a director, I would want to be a film composer.
In my cranky old age, I actually prefer recording alone now, on ‘The Simpsons,’ for example, because I find that the director can just focus on what I’m doing and I can do a lot of variations. A lot of times, when I record with a group, I’ll stay after class for another hour or two.
I had this one audition – I won’t say the casting director’s name, but she was on the phone the whole time I sang. I was literally doing my audition, and she was on the phone. So I guess whatever it is she was ordering for lunch was more important than the high C’s I was belting out.
Being nominated is a great thrill, and we like to say that all four of us were nominated, which means that our director, Anthony Page was nominated four times.
Even today, my father watches my films only in the theatre with the general public. And he’s very tough. His first call will be to the director and the camera man, and only then will he send me a message.
I was offered and accepted a part in ‘A Few Best Men,’ and then the Australian actor’s union argued that there were too many British actors. And the director decided to lose me.
Every director works differently.
I’ve definitely become more aware and conscious of what directors I’m working with because it’s so important. The director is really more than half the battle of the film. You really rely on that. That’s become really, really important to me, for sure.
When I became a director, I wanted to convince a very reluctant Sidney into allowing me to go on the journey of his life. Sidney had gone ahead of every other African American actor.
You spend enough time on set as an actor and it’s great when a director was at some point an actor or understands acting. They’re able to finesse performances out of you that a lot directors can’t get.
When I was general director of City Opera, we were pioneers in the practice of projecting supertitles so that American audiences finally could know what all the singing was about.
I don’t watch many films. I just make sure my directors are really good. I will work even with a debut director, but the one-hour narration of the script should be mind-blowing.
When I auditioned for my high school band the band director was excited because my father was known to be a great musician. When he heard me, he said ‘Are you sure you’re Ellis’s son?’
Oh, well, in Los Angeles everybody is an actor, or a producer, or a writer, or a director, or an agent, or… So everybody understands the hours.
My first in, my first break, was I met a director and got to talking with her, and she happened to be casting this movie that she had written. That was ten years ago. That got me to Hollywood. I got paid $700 bucks.
Alexander Gonzalez Inarritu is a great director. He’s the one I first worked with. He’s amazing.
The director I had most involvement with was Alex Rockwell. He gave me a lot of responsibility as an actor.
Male directors always project their own desire of women – how they want a woman to dress, to do her hair. With a woman director, it’s more a projection of herself.
A director shouldn’t get in the way of the movie, the story should.
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.
A disk unbeknownst to the director can go to the producer in another city or in another office and that producer can edit behind the director’s back much easier than in the old days. Since these dailies are now put on videotape, more kinds of people have access to dailies.
I am very clear that when I work with a director what he or she says is the last word.
I grew up in Bellport, Long Island where I attended Gateway Acting School and met Robin Allan. She was the school’s director who took me under her wing and was the one who told me that I could do this for real.
When you are working, be the director’s and producer’s actor. Value their time and money, be punctual, disciplined, and don’t misuse perks that you get as an actor.
Good, bad mediocre or whatever it is, if a director wants me in his movie, I take it as a compliment.
Somebody who likes to do my plays is a good director for them.
I think the most insulting thing you can do to a director is to challenge when he or she is satisfied with your interpretation.
I think trust is the most important thing. If the actors and the director and the crew trust each other and you set up perimeters and boundaries, you give everyone space to do great work.
It will be hard work. It’s always hard work, and hard work from everybody within the team – technical director, mechanics, drivers, engineers – everyone in the team.
The relationship between an actor and a director is like a love story between a man and a woman. I’m sure sometimes I’m the woman.
Be extremely subtle, even to the point of formlessness. Be extremely mysterious, even to the point of soundlessness. Thereby you can be the director of the opponent’s fate.
I’m always cautious about overstepping any boundaries. At the end of the day, it’s a director’s medium, and if they don’t want to hear from me I just step back.
I’ve actually been given a great gift. When I walk into an audition with a director, I’m carrying no baggage. They haven’t seen me in anything, even though I’ve done nine films.
As a boss, as a CEO, as a creative director, as a chef, I’ve learned that failure will always come. I’ve learned to give it a big squeeze, smile at it, humble myself to it and then use it as a springboard to send me on my way to strength, success, and fulfillment.
My parents, and especially my mother, encouraged by the director of the local school which I was attending, wanted in spite of everything to send me to a National School of Arts and Crafts so that I could later become an engineer.
By the first week of shooting, you know exactly where your film is heading based on the psychology of your director.
Every story is different, every movie is different, every director is different.
I love the first two X-Men movies because I thought that Bryan Singer did such a great job. He elevated that whole genre. He’s a very talented director.
It all has to do with the director, the captain of the ship. He sets the pace, the mood. If the director is quiet, the set is quiet. If the director is loud, then everybody has to be louder to be heard.
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!
The director had come to Madrid to court me.
I was in a show choir. I can’t sing or dance to save my life, but I was very passionate. People said my parents paid the choir director to let me in. It was actually the parents who started that one!
When I read ‘The Water Diviner,’ I was having the same kind of visceral reaction that I would normally have acting in something. I believed that I was the only person that could tell this story the way it needed to be told. That’s the real arrogance of a director!
My father worked for governments all his life as an engineer and public works director.
Each director maintains a different personality. Either you get along, or you don’t.
The standard rumor at the time was that Rumsfeld, as chief of staff, had persuaded President Ford to appoint George H.W. Bush as director of Central Intelligence, assuming that that got rid of a potential competitor for the presidency.
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.
I got my dailies every day, although I couldn’t always look at them because I was usually preparing for the next day’s shoot, both as an actress and as the director.
I feel fortunate. I’ve really gotten to work with amazing talented people, and to learn from them, which is why I’m doing this. If I can work with the best director I’m going to do it.
I’m a little less hungry as an actor than I used to be. When you’re a director, you’re the conductor of the orchestra, and when you’re an actor, you’re playing the violin. There’s a thrill to each of them, but as the conductor, you get the fuller sound.
A good director is not an expert in anything in particular. A good director just knows a little bit about everything.
It’s not just about acting. I love film, I’m a director now, I love writing, I love producing, I love having a company that makes films and to be prolific and have a place to put all the ideas that are constantly bubbling up inside of me and that don’t let me sleep at night.
As a director, my job is to protect. I protect scripts, actors, cameramen, designers.
When you have a good director, it’s just wonderful.
When I went to Jamia, I thought I wanted to be a cinematographer or photographer because I liked telling stories in pictures, but my teachers explained that if you want to tell your own stories then that is what a director does.
If someone, a director, tries to tell me the way to do something, I’m not good at adapting. I need time to go away and think about things.
A director is a choreographer, both politically and creatively.
Oddly, in a sense, I still have more confidence as a director than my ability as a writer. Somehow, directing is just really easy. It’s just about being really honest about how you feel about what you’re seeing.
You can’t just go in there and open your mouth until the cast and director feel comfortable with you.
Casting director was a part-time thing, which later became a full-time job because there was a lack of casting directors in our industry and people were looking for professionals to do it.
The smartest thing a director can do is surround himself with really good people.
When a subject pops into a director’s head, you either fit in there somewhere, or you don’t. An actor is only who he is. Especially as you get older, there’s not as much of a range of potentially feasible parts.
I got an internship with the casting director of The Girl Next Door. I would hold the clipboard and help them in their casting sessions and get them lunch.
As a director, or just a film fan who wants to enjoy the festival, Cannes is the worst place to be. But it must be a paradise for distributors and importers.
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.
The movie I worked on that had the most problems and interference came from the smallest indie movie I’ve ever done. I couldn’t believe what the director had to go through; he was destroyed.
If you know where you stand, and your minus and plus points as a director or as a human being, you will never go wrong. You will always be successful.
Working with a great director is like getting a master class in acting.
I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don’t want to participate in something that I don’t think is constructive storytelling.
I have worked with another first-time director who was not that open, and it was probably one of the worst experiences I ever had, so my antennas are really out.
Matching character and actor is what a good director does.
That was me under the bath and the water being held down. The director wanted it to look as real as possible so he told Keanu, in front of me, don’t go easy on her. So it was scary.
One longs for a director with a sense of imagination.
If you’re a director, your entire livelihood and your entire creativity is based on your self-confidence. Sometimes that’s dangerously close to arrogance.
As a director, nobody told me I’d be talking to people all day. I’m naturally reclusive – I feel myself peek out at a certain point and go, ‘All the extrovert in me is done! I’m on reserve!’
The difference with doing a play is that you are in control. In film you are in the hands of the director and the editor and the producer.
I worked with Tyler before on ‘Daddy’s Little Girls’. He couldn’t be smarter or more laid back and cool. He’s always throwing out lines and is funny as hell. And he was shining his light on ‘Peeples’, too, lending his name to showcase Tina as a first-time director, and me as a first-time lead.
I remember years ago I was an extra, just an extra, and instead of asking me to move – he was a big fella – the director just picked me up and moved me. And I headbutted him. You know, he shouldn’t have done that, but I shouldn’t have done that either. I just done it.
I’d worked in Clockwork Orange with Stanley Kubrick and since Stanley was such a prestigious director this opened all sorts of doors for me – one of them being Star Wars.
My dad is a successful television producer, director and writer and my mom’s a director and writer.
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.
Due to God’s grace and a good director, I became successful.
I think, as written, ‘Assassins’ simply acknowledges the very human need to be acknowledged. As director, I’ve got to put aside any particular biases or prejudices that, as a moral human being, this is not an appropriate or acceptable way to get what you want.
But I did on projects that I produced, that I directed, that I acted in because it was important. I want to be a filmmaker. I don’t want to be an actor who directs, I want to be a director. I want to be a filmmaker. So that’s a big difference.
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.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you’re trying to do, if that makes sense. It’s a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
In order to be a good director, you also need to be a good entrepreneur because the director is in charge of everything and everyone on the sets.
No, United Artists was a very extraordinary organization, because once they had agreed on the director, they believed in letting him have his way. They trusted me, and that doesn’t often happen.
To be a good director, you have to have good life experience. I’m getting there.
If your director knows what he wants on screen, it makes things easier.
I go into a young film director’s office these days and he says, ‘Hey man, I know who you are. I grew up watching ‘McHale’s Navy’. And I think, ‘Oh boy, here we go again’.
If the director says you can do better, particularly in a love scene, then it is rather embarrassing.
I had to go and sing with the musical director of the film, Simon Lee, who is just incredible, and it went great. I sang with him about five things, things we’d worked on. And then I went to sing for Andrew Lloyd Weber.
The director took my face in his hands and asked me to show him my teeth, as with a horse. This happened on a Wednesday, and by the following Monday I was shooting.
The audience has always been my best director.
My very first news director said to me that it’s better to be hated than to have viewers be neutral.
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.
For a director and a producer to be named on the writing credits is practically unheard of.
A director is the captain of the ship; he gets the vision of the film much before anyone else can. While I want to experiment with characters, I know a good director means I am in safe hands.
But I don’t think of myself as a foreigner or a Frenchman! I just think of myself as a director. Whether I’m French or Australian or whatever, it’s really not important.
Working on a play is a vibrant and collaborative business. Everyone from the choreographer to the music director to the director to the writers work together toward the same goal, and everyone chimes in on everything.
‘Mariah’ was the first series-regular role for me, and that really came about because of ‘Secret Honor.’ That really was a direct result of that. Because now I had an agent and was submitted for that part, for James Malone. And… I was the casting director’s first choice for James Malone.
As a cinematographer or director, I’m always looking for projects that are able to say a lot with the actor’s expressions.
I know how difficult it is to learn languages, since I am working in three regional industries in South India, and unless the director wants my voice to be dubbed, I do my own dubbing.
I’ve done auditions where the casting director is taking the paper out of my hand in the middle of reading.
The director’s job should give you a sense of music without drawing attention to itself.
To me the director’s job is to leave it in better shape than you found it, literally.
Theatre director: a person engaged by the management to conceal the fact that the players cannot act.
I still can’t quite believe it. Although there was something about the fact that it was a first-time writer, a first-time producer, and a first-time director all at the same time.
Since signing with Universal, I have been working closely with Gary Ross, the director, producer and screenwriter. We have spent many hours on the phone, and I’ve been sending him information and items that have been useful to the writing process.
The guy that made me wanna make movies… and this is off the wall-is a guy named Michael Pal, the British director.
I was called the greatest director in Europe, but I was just a hard worker.
I don’t really care where I work, actually, because you know making a movie is like living in movie world. There’s such a secluded world, and the director is the king ruling the country, and everybody’s building this little town to speak in symbolism.
‘Hanna’ was nice. It was Saoirse Ronan’s idea. Usually, the director casts the actor, but in this case, the actor cast the director.
But for me, the challenge is how you turn a character into behavior. Once the director says ‘action’, you just try to live between those two worlds.
I didn’t really realize I was a woman director until I walked onto the set at Pinewood Studios when I did ‘Mamma Mia!’ and everybody was calling each other ‘Governor’ and ‘Sir’… and then, looking at me, ‘Well… good morning!’
I feel like I might be a designer or stylist – or a director because I have always been super interested in cameras and editing.
I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.
How many movies do you see when you can say this director really knew what film he wanted to make? I can count them on the fingers of one hand.
Sometimes the producer has more say and the director takes what he is given. On other occasions, you don’t see the producer very much and the director is the one who it is all about.
Once I started ‘Nagaram Nidrapotunna Vela’ I had to finish it. I made a wrong decision. I knew the film would be a flop and told the producer so. Everyone failed – director, producer and all.
In my career as a director, there’s always been some point where you get halfway through it, or three-quarters, and you go: ‘What is this thing all about, and why am I telling the story? Does anybody really care about seeing this?’ At that time you have to say: ‘OK, forget that and just go ahead.’
I think the director is becoming more important. To work under rushed conditions, you need to have an extremely professional director. If the director’s good than the end result will be good.
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.
As a director, try to be humble and not to overdo it, not overcoverage and over-covering the scene.
A leadership culture is one where everyone thinks like an owner, a CEO or a managing director. It’s one where everyone is entrepreneurial and proactive.
In Hitchcock’s eyes the movement was dramatic, not the acting. When he wanted the audience to be moved, he moved the camera. He was a subtle human being, and he was also the best director I have ever worked with.
It was always my dream to be a director. A lot of it had to do with controlling my own destiny, because as a young actor you feel at everyone’s disposal. But I wanted to become a leader in the business.
I still make more money as I do as an actor than director, however I don’t want to be a commercial director.
I’ve always had the utmost respect and awe of what the lens can do and what a director can do with just a camera move.
Music is where I have the most creative freedom, but I love producing. To me, that’s kind of where all the action is. You get a chance to have your hands in every aspect of a film. From picking a director, sometimes picking a writer, to the actors, the wardrobe, set design, editing, music, and marketing.
A good director’s not sure when he gets on the set what he’s going to do.
I do my best to hold the director’s opinion above my own.
A friend of my mom’s was a casting director so, really as kind of a lark, I had a couple of acting jobs that had just enough exposure to give me the option to continue if I wanted to. I followed through with it.
Of all the projects I’ve worked on, I’ve never worked with another director like Billy Friedkin. I think he’s a genius.
‘Strong Island’ has been a labor of love and dedication on the part of so many people, that it’s just an incredible recognition to be honored. And to be the first trans director – and, I believe, the first African-American trans director – to be nominated for an Academy Award is incredibly, incredibly special to me.
I have been a director who has starred, participated on both sides of the filmmaking process.
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.
I mean, this whole digital revolution is really eroding the director’s importance on a movie because, number one, just from a practical standpoint, with floppy disks and the ability to put all of the film onto a disk, more people have access to the movie.
Fathering is a major job, but I need both things in my life: my job to be a director, and my kids to direct me.
The kindest thing a director can do is look with open eyes at everything.
I would love to have a part opposite a great actor – like, say, Pacino or De Niro or Hoffman. And to work with a top director. That’s my dream.
The thing that separates a so-so director and a great director is a love and caring for film.
I read that John Hughes script for ‘Mr. Mom,’ and I thought, ‘This guy is a funny writer.’ I went: ‘You ought to stick around and direct this thing.’ But he didn’t; he left, and look what he became. A really legendary comedy director.
As a painter you’re responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.
I miss that process of getting the script and reading it and working on it. Every actor has their own way of memorizing their lines, and the whole process of starting to work with the other actors and the director, and doing rehearsals, and going to the location, and going through wardrobe.
I’m a performer, comedian, entertainer, writer and director.
And Louis Freeh was a completely dysfunctional FBI Director, who was actually waging his own private war against the Clinton Administration.
I enjoy looking at words on paper and visualizing how to make them come to life. As a director, the creative process is really amazing.
There were movies that always made me want to be a director. You see brilliant scenes and the way the emotions were handled. I thought, I’d really like to do that.
The stories that I want to tell, especially as a director, don’t necessarily have a perfect ending because, the older you get, the more you appreciate a good day versus a happy ending. You understand that life continues on the next day; the reality of things is what happens tomorrow.
I had great luck with Tim McGraw twice in ‘Friday Night Lights’ and ‘The Kingdom.’ I love finding off-beat casting and finding someone you know in one way and you reinvent them in another way. I like doing that as a director.
I’m fairly competant as a director and actor, but I am Mr. Neurotic as a writer. I just don’t have enough confidence in my abilities to take criticism well. I take it personally. Start with ‘It’s a masterpiece,’ and then tell me what you think could be changed.
I’m not one of these directors, so far, that wants to have a whole separate director’s cut of these things. So far they’ve turned out to be kind of the length that they wanted to be.
You never know what you do that could be totally out of left field, which actually might work and give something fresh to the whole scene, to the character, whatever. If you have that with a director who then knows how to shape it, either in the direction, in the moment, or in the editing, then that’s good.
I was creating characters early. People didn’t beat me up. I scared them. I hated authority. I could also get people to do things; I was quite the early director. I could make people laugh enough to get their defences down – and then brainwash them.
Most actors don’t really have a director’s sensibility. They have an actor’s sensibility.
I’m becoming a frustrated director, I think, in an actor’s body.
I feel as if I’ve been fairly successful with maintaining a cohesive tone between the work I make as a photographer and as a director.
Stephen Daldry would be a director that I would love to work with as well as Peter Jackson, Tim Burton, and I’m very lucky to have worked with Isabel Coixet, who is also one of my favourite directors.
I’d love to see the rushes but it’s just not allowed because directors and also a lot of actors feel that if they see their work, and the director likes what they’re doing, the actor might try to correct their mistakes.
A great director or leader knows his people, creates a great team, and then makes a great movie that can influence millions more than the readers of his column.
The thing I love about acting is that it’s got nothing to do with me; it’s about bringing forth a director’s vision. It’s like a release. I’m glad it’s come back into my life.
The first assistant director is just so important that the choice of that person is critical to the movie.
I don’t want to make a comfortable film. I’m not interested in that. I’m not interested in answering people’s questions; I’m interested in posing questions. I’m interested in sparking a conversation between two people about what something means. That’s enough for me, as a writer and as a director.