Director Quotes
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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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A team effort is a lot of people doing what I say.
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The difference between being an actor and a director is simple. The director has to hide his panic; the actor doesn't.
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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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If everyone's comfortable, you can pretty much make any kind of movie that the director wants.
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For the late twentieth-century museum director there is no more certain prospect for audience acclaim and sponsor success than those Impressionist and Post-impressionist artists who were so reviled a century earlier
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I'd like to make movies as a producer and a director.
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If we have come up with a creative decision and somebody comes up with another idea, you do have to get into the depths of it and ask: "Is it a better idea? Or is it a different idea?" That can be hard. But that's the type of conversation the director and I will have, or as part of our creative groups. So with that in mind, it's hard to keep a budget in line. It's like in life, if you've ever built anything for the first time you're usually better at it the second time.
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I think that what kind of is making this different is the creative group of us that has come together and we're all kind of on the same page working towards the same goal. So it is a real collaborative effort of our hearts more than it is oh you have the writer, you have the director, the producer, whatever.
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It didn't matter that Charlie Chaplin may not have been a great director or a great anything else. He made great movies.
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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.
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You have to understand that people feel threatened by a writer. It's very curious. He knows something they don't know. He knows how to write, and that's a subtle, disturbing quality he has. Some directors without even knowing it, resent the writer in the same way Bob Hope might resent the fact he ain't funny without twelve guys writing the jokes. The director knows the script he is carrying around on the set every day was written by someone, and that's just not something that all directors easily digest.
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I think drug movies free the director to make intense films.
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Obviously I would love to work with all these great directors like the Coen Brothers, Tarantino. Robert Rodriguez is a dream director of mine.
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I think I'm ready to bring my style to a comedic movie as a director.
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A lot of the music editing job is communication and working out what a director really wants the music to be.
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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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I was mid-sentence when the casting director said, "Listen, kid. You should not be an actress. You are not pretty enough. You should go back to wherever you came from and you should go to school. You don't have it." She was very blunt - I honestly think that she thought she was doing me a favor.
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At Camp One we were met by Director of Public Works Warwick Greene, grim and grimy. He has been working himself to death to make this transportation plan a success.
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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, 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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My husband's a director, so he understands what I do.
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I don't know if the scripts are changing so much. I mean, I've been working for almost 25 years and made over 40 films and I worked with my first female director, on a feature, "Planetarium". And it's still the only one.
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Sometimes I get insecure about being a real director because I look at the great directors, and they have such command. But maybe that keeps me critical of myself. Maybe it keeps me moving forward.
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I got involved through the director of the show Top Chef, he's a director of films in Mexico; I worked with him before. I watched the show in English -many times for many years - and I always loved it. As soon as I heard about having an opportunity to showcase Mexico in a different way, to show a different side of Mexico, that is not violent, that has beautiful colors and delicious food... I didn't think about it twice.
