Directors Quotes
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David Mamet we all know is a great screenplay writer and playwright and a great director. If you like him, you like him. If you hate him, you really hate him. He's someone who's into controversy, you know what I mean? That's David Mamet.
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Now, therefore, the Directors of the company are hereby ordered to see that precautions are taken to make travel on said railroad perfectly safe by using a screw with at least twenty-four inches diameter.
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It's because you have no power. You give them all the material and the cinematographer, the director, the editor, boy what they can choose... You better hope they like you because they can slice and dice and make you look like a damn fool when your face and body are up there on a 30-foot screen.
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You start out with big dreams and I mean, big dreams artistically. You want to work with the greatest living directors, make a great movie. I wanted to make a great love story, I wanted to make a great epic and then you realize that the truth of it is that it's so hard to make a great film. It's hard to get a great role. Those big expectations change to realism pretty quickly. But what's never changed is my desire to work with great directors and to find projects that push me out of my comfort zone and keep me alive. I still don't think I've done my best work.
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I'd worked with directors who wouldn't collaborate. Then I've also worked with directors who didn't really know what they wanted. I knew I didn't want to be either one of those guys - or girls.
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These directors clearly failed to protect the interest of investors.
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I was on 'The O.C.' and had a small part, which wasn't very challenging. I was a bit bored, so I started shadowing directors and they finally gave me a shot. From there, it led to directing other television shows. I am trying to direct a feature film, so we'll see what happens.
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I look for something that grabs me and that's heartfelt, and that's coming from a good place. I want to work with good actors and with directors that I can learn from.
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This is a show I've always wanted to do. I wanted to do this 15 years ago. We lived in San Diego and my church group there was going to get to do it and I had everything ready to go, but they didn't get the rights. They had to change everything at the last minute, and I've been holding on to the script and director's book since then.
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I've worked with very few directors who've asked of me what I asked of myself.
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Most of the time nothing much is required of directors, which is a pity.
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As far as directors, I'm a big fan of any kind of Billy Wilder stuff. Anything he does.
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I think Anand Rai is one of the few brilliant directors we have.
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I'm shy to call myself a director still. When someone says, 'What do you do for a living?' I don't know if I've earned that.
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It's fair to say that if you have a lot of experience, your power is greater. You have more of an opportunity to roll up your sleeves with younger directors.
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The nice thing about being a director is that I can say, "I can only get into the room after the kids are at school, and I have to be back for dinner. And they're coming for lunch."
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Is it 'left' to insist that presidents and CIA directors adhere to the law? I don't think so. I think it's American.
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As a director, I hoped that I was able to help the actors by giving them the space and the respect they need and the trust. I gave them what I always felt I needed when I was working.
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ADMIRABLY BOLD. There's something grand about the film's sincerity and the intensity of its emotions and something fresh and bold about the way director Gray uses the conventions of romantic melodrama.
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Working with actors who are directors is magnificent. Because they understand the art form intimately, and they know exactly how everything works.
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If there is one thing that, as a director, you don't want to be a part of, it's a group. It's the same thing with music. I don't want to be a part of a scene. Just leave me alone. It's just my nature, and it's nothing against the people that are in that group, but I just like to be left alone.
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I like doing commentary. As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things. I often like the technical commentaries myself.
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'Ides of March' I did for scale - scale as a director, scale as an actor, scale as a writer.
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I have a way of filming things and staging them and designing sets. There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting.
