Director Quotes
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I think drug movies free the director to make intense films.
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I just adored Peter Medak, the director. He's such a character, but he was so much fun. Some directors come in and they truly get angry about things.Peter was still in a fantastic mood. He's a delightful person. He threw a big party at the end of the pilot, which was so sweet. And his wife is an opera singer. He's just a very warm, crazy beautiful individual.
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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 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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The director is the only person who knows what the film is about.
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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 never think of myself as a big star. Getting good scripts is all I think about. I don't have a godfather or anyone to take care of me. To move forward, I have to be very careful in choosing the right scripts, the right director, and the right technicians.
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It can be a bit annoying if another actor is trying to talk to the director and the wife is sitting on his lap.
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The foreign-language Oscar is something that doesn't go to the producer or the director; it goes to the country.
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Ang Lee's been nominated for best director for "Life of Pi," which is what I'm going to call the six weeks after I take this dress off.
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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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When I do a film, I try and see how in tune I am with the director.
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I really love the experience of moving things around, in terms of being a director.
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It's seldom that you get to work with one director more than once. I've worked with Clint Eastwood three times, but that's the only one that's happened with, simply because I adore his work.
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Jordan Vogt-Roberts directed me in 'Kings of Summer,' which was his debut feature. I got to witness the passion and hunger that first-time directors bring to projects, and ever since, then I've been very intrigued when I've come across a project with a less experienced director.
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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 always want things to look good. You're always trying to make things look tidy. That's what we're all trained to do.
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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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I am not interested in simply working as a director. If I am not making movies that I want to make, that I feel passionate about, or that I feel are hopefully at the level of cinematic quality that I feel they should be then I am not really that interested.
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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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Oh, what the hell did I know? I went to the set the first day in full makeup and the director told me to take it off. So I did the film without makeup. I had nothing to do with anything I did. I never understood why I was so famous.
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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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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.
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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.
