Director Quotes
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I don't blame any director for wanting to do something more commercial. That's all part of the business. I certainly have done it, as an actor.
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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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As you're growing up, it's odd, because directors don't expect you to grow up. They think you'll be young forever, but as an actor, there is an awkward period when you're too young for old or too old for young, and it can be an odd time.
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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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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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Most screenplays depend primarily on the vision of a director.
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Every director should take an acting class.
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You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.
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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.
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I think that what a lot of people tell you, a lot of the job of the director is having an opinion about everything.
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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 believe that improvisation is really just a directorial tool. It's a writing tool. It's not so much that the actors get to say whatever they want, whatever pops into their head. It's an opportunity to write the last draft of the screenplay as you're working on it.
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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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Obviously, if a director doesn't communicative a clear, relevant vision of the material, it will not succeed no matter how good the material.
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I don’t want to be an editor! I don’t want to direct; I’d be a horrible director. I don’t want to write - I have a “story by” credit on one film I did. And I don’t want to edit at all.
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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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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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Every director is always directing around the play. If you have an actor who really doesn't get the character well enough, you have to direct the play around that character. You have to make choices with that actor. If you have an actor that really doesn't get the role and has certain visions of the role, sometimes you have to direct around that actor.
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As an actor, my No. 1 focus was to be on the same page with the writer, director, and producers.
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Many times I felt like I'd do better than what the director did, but some of them got a little discouraged because they didn't have full charge of making the film, and sometimes there'd be battles of egos.
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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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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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I think any performing artist can do films, or, as a matter of fact, anybody out there in the street can be a film actor with no experience whatsoever if you've got a good director.
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It's important for me to work with a strong director because I know I can go to some really deep places, I just need direction on how to get there.
