Director Quotes
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In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason - the director cut according to the script. So, if you ad libbed, you'd be off mike and off camera.
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Every director is themselves; they're not playing a part.
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Each Catwoman is specific to the Gotham City she lives in and the director that helps shape her. So it's kind of hard to have a favorite and I'm not just being political, it's hard to have a favorite because each one is so specific as themselves.
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As a director, I only know how to do it one way, is to pour my heart and soul into everything.
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I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.
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I think one of the things you have to be aware of as an actor is that if you come on the set and see the director standing there mouthing all the words while a scene is going on, that's usually a very bad sign because it means the director has already shot the scene in his head. He knows exactly the rhythm and the nuances that he wants delivered in the line and you're not going to dissuade him.
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As a director or writer, you have to be so controlling.
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As a director you have to - you don't have the option of saying, "I'm not watching this."
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One of the gratuities about being a director is that you can volunteer yourself out of difficult details.
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We get hit with the 'jukebox musical' label, but book authors Marshall Brickman and Rick Elice and director Des McAnuff accomplished a 50-50 split between music and drama, ... The music is very important, but the history of the group makes it a great piece of theater.
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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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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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The relationship between an actress and her director is often a very close one.
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If I'm a director and I read a script and I say yeah I really want to do this, I would never walk away because the deal wasn't very good - that I wasn't getting paid very much or that the chances that I would see anything on the back end were remote because of the financial waterfall and the way it's structured. I would never use that as a reason not to do something.
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I don't worry about what everyone wants to see. I make movies that please a writer, director and myself. I always think there are enough people smart as me and sensitive as me.
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When I grow up, I still want to be a director.
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The Actor should make you forget the existence of author and director, and even forget the actor.
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As a director, you never think about how an audience would respond. You can think about that, but you will never change what you're going to do.
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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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Every director works differently.
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Any good movie is filled with secrets. If a director doesn't leave anything unsaid, it's a lousy picture. If a picture's unsaid, it's a lousy picture. If a picture is good, it's mysterious, with things unsaid.
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Vicky Donor or Madras Caf, John's films have been path-breaking. I have full faith in the script of my movie, and my director, too, is a debutante. I like the conviction with which they work, and that gives me a lot of confidence.
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I tend to ... if I decide to do a job, want to be able to trust my director...
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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.
