Director Quotes
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When Shana Alexander interviewed me for Life magazine in 1952, she gave up after 4,000. At one time or another, I've worked for every studio in Hollywood, for almost every director with most of the actors and actresses.
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For me, as an actor, it's always about getting out of my own way. I can put so much pressure on myself to keep up and make my director happy instead of being in the moment.
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My attitude as an actor, because I'm a stage actor, is whatever the director tells you to do, you try it. You don't resist what a director is giving you.
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'The Color Purple' is the kind of character piece that a director like Sidney Lumet could do brilliantly with one hand tied behind his back.
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I have to be strong about my own tastes because I think that's what the director's job is.
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Good, bad mediocre or whatever it is, if a director wants me in his movie, I take it as a compliment.
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I think the mark of a good director is that they surround themselves with good people.
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I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens.
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I think I'm ready to bring my style to a comedic movie as a director.
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The showrunner relationship in television is what the director relationship in film, there's really no more important relationship.
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The director is the only person who knows what the film is about.
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Everybody sees things their own way, but putting it onscreen is a different story - you have to deal with production crews. That's what differentiates a good director.
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If I have to wear a hat as a producer to do that, then I'm willing to do that. An actor's, producer's and director's point-of-view is all the same to me, as long as the story's being told.
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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, which I hope this one does, 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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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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I don't think anyone can really make up their mind and say, Now I'm going to be a director.
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I don't come to work as an actor. There are many directors who can direct without ever having acted and do a great job and connect with their actors and lead them to excellent performances without themselves having had an acting background.
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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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I didn't have the problem of finding myself at 45 on the wrong course - I always wanted to be a film director.
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I can make a better living as an actor than I can as a director. Though I certainly would prefer to be directing movies.
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A team effort is a lot of people doing what I say.
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I don't storyboard like some. I mean, all directors are different. I plan meticulously - really meticulously.
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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.
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When it’s still—when it’s the cellar of a house, or a ring of mushrooms in a forest or a gun emplacement outside Offenburg—it’s called one of two things. If it remains static and unchanging then we call it a despair. If it seeks to extend its influence then it is a malignancy. Or as the Director puts it—a despair will suck you in, but a malignancy is coming to get you.
