Director Quotes
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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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Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.
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"A good director is one that lets you improv," that's ridiculous. There's some actors who should not be improving and there are some scripts that should not be touched. I think it's just a case by case basis.
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There is an isolated experience to being a director. It's very communal because there's a crew, but it's only you. You're the one on the hook.
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The director I had most involvement with was Alex Rockwell. He gave me a lot of responsibility as an actor.
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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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The core of a director is the person's tastes in what elements go together and how they go together. It's a puzzle.
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You never know as a director what other directors do. Because you don't get to see what they do.
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One of my biggest fears as a director is that everything is taking too long on camera. The actor saying their lines, the silence between lines, the length of time it takes to walk from A to B. So you try it at different speeds and then see what sticks in the edit room.
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I would take a bad script and a good director any day against a good script and a bad director.
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Ever director has at least 10 bad films in them.
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The director can't do your job for you. He can't get in front of the camera and perform your part.
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There's nothing worse than a director that keeps changing their mind. Because, unlike the directors I work with, I'm not decisive at all.
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There are definitely reasons to do certain things, but I like to stick to good director, good actor, good script.
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Every director is themselves; they're not playing a part.
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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.
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The worst thing for an actor is a director that gets on your nerves and says things that actually confuse you.
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American Graffiti was the first movie where the director let me have any input. It was the first time anyone ever listened to me. George thought my character should have a crew cut, but I wasn't happy with that idea. I'd always had pretty long hair back then - in college, particularly - so I told George my character should wear a cowboy hat. George thought about it and he remembered a bunch of guys from Modesto, California, who cruised around, like my character, and wore cowboy hats, so it turned out that it actually fit the movie.
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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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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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I think drug movies free the director to make intense films.
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Most screenplays depend primarily on the vision of a director.
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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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'The Best Man' was my first feature film, and I didn't want to be known as a director who only does romantic comedies.
