Directors Quotes
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A lot of really good directors have a killer in them, as if they'd do anything to get that image. But that comes with the terrain and I don't mind it.
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Carbon trading engages finance directors. It takes the issue of energy efficiency right to the top of the company.
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I don't think Hollywood makes many good films anymore. How many directors can you really trust to have an artistic vision, not a corporate vision or a watered-down communal one?
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I have many valentines. My mom and my sister and my directors. I got calls from all of them. And my friends. I respect what Valentine's Day stands for because it is about love
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It's hard on an actor when you have to do a scene 45 times and you know damn well that three of the angles a director is shooting will never make it into the movie.
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As a director, my job is to protect. I protect scripts, actors, cameramen, designers.
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Great directors can understand the staging in such a way that can make a scene come alive. Others have a certain way of pacing the scene.
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I was lucky, life provided a chance to work with great directors and actors.
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One thing about being a stand-up is it's a one-man show. You gotta do everything. You're the producer, writer, director, and the actor. You just gotta be out there and perform and give your all. It's such an honest form of art that it just taught me so much, and it kind of prepared me for manhood at an early age.
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I came across awful characters when I got some kind of status and came to Hollywood. Then you have directors trying to sleep with you, assuming that you will do things because of the way you dress.
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The whole world of Game of Thrones was realized with such detail, with directors and writers who really geeked out and really loved all the little bits of it.
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I never worry about what they think about me. Because I feel so far away from what my Italian colleagues have done that I almost automatically become an isolated director.
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A good script and a good brief from the director is enough to let me know what is expected of me.
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Sometimes, the actors are thrilled to have visitors because they're just waiting most of the day. It's the directors that are a little busy.
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Getting back in the directors chair - there's a sense of like doing something every year. It's not like riding a bike, you're always learning new things, you're gonna face new challenges and when you face new challenges you'll have an answer for them.
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An accent like mine and a face like mine, I think a lot of the time it's easy for casting directors to just stick me in as a bad boy, but 'Being Human' took a risk on me - bless 'em - and I'm not that bad boy no more.
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Sometimes people come in as a director, and they just want the result, and they barely want that to tell you the truth. Sometimes directors barely talk to the actors; they are so focused on the cinematic elements of the movie, getting the shot and getting the lighting right or getting the CGI effects right and all of that, and they just trust that you are just going to do what you do.
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It's impossible to put your finger on what that is exactly other than protecting the environment that the actors get to find the scenes and build the scenes and invest in them. I think that's key and that's what I've learned from all the great directors I've worked with.
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The advice you give to young directors for sure is to go out and become some version of a successful movie actor. Do that first and say yes to people like Terrence Malick and Clint Eastwood and Woody Allen when they come and offer you movies. It's a great front row seat to filmmaking.
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My advice for other female directors: don't think of your gender as a handicap. Don't think about it at all. Just tell the best story you can, and don't stop until you do.
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I think producers are more interested in backing concepts than directors and writers. I don't think that's the right way of making a decision about whether you're going to back a film or not.
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Here is how I work: when I think that a film needs to have a principal theme, I search for a melody. I have a very strange melodic gift: melodies come to me effortlessly. So I write melodies-thirty, forty, fifty-then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide. That happened one time with Jacques Demy for the duo of the twins [in Les demoiselles de Rochefort]: I went to his house in Noirmoutier to play 35 possible themes for him.
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I am impatient with directors who don't know what they want, and the way you don't know what they want is because they want to do one more. "Let's do one more." So, "What for?" I guarantee you there's not going to be a change.
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Directors love to do music, they've been doing that all along.
