Directors Quotes
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Lloyd Richards is another director who was like that, who was a teacher.
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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 like directors who come ready to challenge you to ask the right questions about your character, and I know that directors appreciate that in actors as well.
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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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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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I love the work, I love being in front of the camera and working with actors and directors and creating something. For me, it's like learning everyday.
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As an actor you're only as good as the things you're offered. And there just weren't any female directors offering me things. So when you dissect that, you realize there aren't women offering you things because they don't have the opportunities. I work to raise money for women's cancers; I use my voice for violence against women.
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Usually when you meet with a director, just meeting them after you've seen something you're interested in, they say, "Oh I'd love to work together," and sometimes you never hear from them again.
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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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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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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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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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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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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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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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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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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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As a director, my job is to protect. I protect scripts, actors, cameramen, designers.
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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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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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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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Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.
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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.
