Directors Quotes

I had been doing summer stock every summer while I was in college. We did a showcase, like most good conservatories do - monologues and things that agents and casting directors come to see. From that I got an agent.

Sometimes directors will hire you and say, 'Oh, we love your work.' And then they start to tell you how to do it. I say, 'Hey, man, back off. You hired me to do it. Let me do it.'

So I've had really great assistant directors for my last seven movies.

There are directors who, their direction is high, but then when you challenge it, it crumbles. They can't back up what they're asking.

There are a few directors around who I have some excitement about spending my $7 at the theatre watching their movies.

You spend enough time on set as an actor and it's great when a director was at some point an actor or understands acting. They're able to finesse performances out of you that a lot directors can't get.

Sometimes the directors were afraid of what they brought out of me.

All directors are control freaks and very obsessive. I get the feeling that directors as kids, they all have had a childhood with not too much contact with other kids. They constructed their own reality and they continue to do it. It's a funny breed, directors.

On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.

Twelve years on sets watching directors, I've taken a bit from everybody and rejected a lot.

What I always meant by that was that I do believe that a lot of directors, and writers, and sometimes producers just lose their edge because they haven't seen anybody or talked to anybody or been with anybody who isn't a kind of replica of themselves for a long period of time.

Directors have to push me. I have to be pushed up. Not all the time, but often.

Richard Donner is one of the few directors in Hollywood that can make whatever movie he wants exactly the way he wants it. No one will stop him.

There are times when directors just don't know what they're doing.

My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.

I think theatre helped, only because it was acting experience. I got to work with a lot of directors.

Well, I certainly was exposed to and learned to appreciate the work of great directors early on. As a kid, my mother used to take me to see really interesting arty films in Los Angeles.

Movie directors, or should I say people who create things, are very greedy and they can never be satisfied... That's why they can keep on working. I've been able to work for so long because I think next time, I'll make something good.

Casting directors now just see me as the hard-core sniper or prison guard.

I get along great with directors, but I think some producers would tell you I'm a pain. They may say I'm tough to work with, but I have a great passion for what I do. I believe in fighting for it.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

I can talk endlessly about characters, or why someone did this or that, and what that dynamic and interaction is. I really love it, and I think that actors really respond positively to the fact that I like to talk about that stuff, because I'm not sure that all directors do.

Many French directors, having now realised there was no more real criticism, that the standards of the past have gone, are very offended about the quality of film criticism.

Ambiguity in directors is a hard thing to deal with.

Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.

Continental directors, as opposed to British and American, tend to be somewhat high-handed in their approach.

I want to work with great directors and try not to put too much pressure on myself and just read things for the story and recognize when I'm drawn to something for the right reasons and try to maintain some sanity.

I had to endure the worst time of all in terms of racial discrimination in Hollywood when I first started out. It was inconcievable to American directors and producers that a Mexican woman could have a lead role.

I'm thinking about directing, but I know it's a lot of work and I appreciate what directors do and I would like to be good at it. The opportunity has presented itself four to five times, and I usually said no because of the script.

If it gets to the Supreme Court, I'll have the directors of every museum in the country as expert testimony that my work is legitimate art.