Director Quotes
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I came in on this movie after there had been a director and I came in after Tom Courtenay had talked to Ron Harwood about making a movie. So, you know Tom and Albert Finney had been friends since the beginning of their career as they became stars around the same time - Tom always reminds me that Albert was first with Saturday Night and Sunday Morning and then Tom with The Long Distance Runner.
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The smartest thing a director can do is surround himself with really good people.
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The thing that I think a director has to have in order to make a movie really work, and to certainly make a film that feels personal, is that you have to have a sense of the feeling that you want to create in people, the tone which you want to tell the story, and the basic themes you want to come out. You can't compromise on those because you are then not making the movie that you are going to be good at telling.
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When I was a kid it was much more difficult. You're trying to understand what the director wants. It's a learning process. Now, you go in and it's more of a collaboration.
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That is a big turn-on for me, a director who knows what he's doing and what he wants, and knows when he's gotten what he wants.
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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.
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I'd like to make movies as a producer and a director.
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I don't know if the scripts are changing so much. I mean, I've been working for almost 25 years and made over 40 films and I worked with my first female director, on a feature, "Planetarium". And it's still the only one.
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The job of the director is to suggest two plus two. Let the viewer say four.
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If we have come up with a creative decision and somebody comes up with another idea, you do have to get into the depths of it and ask: "Is it a better idea? Or is it a different idea?" That can be hard. But that's the type of conversation the director and I will have, or as part of our creative groups. So with that in mind, it's hard to keep a budget in line. It's like in life, if you've ever built anything for the first time you're usually better at it the second time.
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An actor gets to take a nap, but the director is working hard from dawn till midnight. I'm kind of lazy.
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You are the executive director and screenwriter of your life.
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Just being hired by a great director is complimentary.
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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.
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As a director you already have a script, you have actors... you have collaborators when you're a director. When you're writing there's no one to collaborate with, there's no material to look at. I haven't adapted something yet, so, I'm sure that would be helpful. When you're writing an original piece you have nothing.
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One longs for a director with a sense of imagination.
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For me, a director is a director immaterial of the gender. At the end of the day, the audience is only interested in watching a good film.
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What makes it frustrating is when a director or a studio head doesn't see me for the same part that they'll see, let's say, Drew Barrymore for. Drew's a great friend of mine. But it's like, "No, we want more of an American type of girl."
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I try to offer as much as I can to the director so he has as much to work with as possible to create the character that, really, he wants to create in a sense.
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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.
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It didn't matter that Charlie Chaplin may not have been a great director or a great anything else. He made great movies.
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In the theater the audience is generally riveted to a single angle of observation. The movie director, though, can rapidly shift from objective to subjective--and to any number of subjective points of view--and in so doing seem to pull the audience directly inside the frame of his picture, giving the spectator the sense of experiencing an action from the viewpoint of a participant. Identification of the viewer with the film character, then, can be much more intimate than the analogous situation in the theater.
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I think drug movies free the director to make intense films.
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I'd like Santa Claus to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.
