Directors Quotes

The time I'm not spending with my kid has to be worth it, so when I sat down with my agents after I was ready to go back to work, I told them: It's all about the directors.

It's not like every director in every movie is seeking me out by any means, there are a lot of things I'm not suited for, a lot of things I'm not interested in, and a lot of things that directors wouldn't be interested in me for.

I was fortunate enough to work under directors who were, most of them, brilliant, emotional men.

I wanted to trust in my partners and the directors and producers and do the best I can to deliver what I could deliver.

There are two kinds of directors: There's the kind where two plus two equals four, and you have to help them figure it out. And then there's the kind that throws you in a room, locks the door, sets the house on fire and films it.

I think my favorite, and Coppola and that whole thing. East coast Italian directors I guess.

I've never let producers tell me what to do. Even when I was making television, I always did what I wanted to do, and if I couldn't, I didn't do it. It was a freedom that, these days, young directors starting out don't have.

I worked for John Ford, Howard Hawks, Henry Hathaway, Raoul Walsh - I worked for some real good directors.

European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films.

I really liked doing a number of the projects and directors, and etc., etc., I knew about half-way through that I would never be doing that again. It's just not me. I really am happy as a part-time film composer, not a full-time film composer.

The parameters are such that I don't get offered a lot of work. I'm sure most directors hear my list of don'ts and say forget it.

I have a real thing for Mexican directors. And I love Guillermo del Toro and Alejandro Gonzalez Inarritu.

Most film directors do not come up with their own subjects or write their own screenplays.

The majority of directors I've worked with didn't know how to talk to actors.

I'm lucky enough that directors sometimes seek me out for little projects that people don't even know about, that just surface later on.

I was on the state board of directors of the American Civil Liberties Union.

In a collaborative environment directors hire actors because they want their input, not just their bodies.

As you can probably tell, I like films and directors that bring a totally unique style to filming action.

Most actors go, 'I read the script and fell in love with it'; I fall in love with the directors.

Some directors expect you to do everything; write, be producer, psychiatrist. Some just want you to die in a tragic accident during the shooting so they can get the insurance.

The biggest mistake in student films is that they are usually cast so badly, with friends and people the directors know. Actually you can cover a lot of bad direction with good acting.

The director's who want to be innovative use the DVD as a tool to see what people have done in the past and you have other people who will actually take from better directors and that makes them better directors.

There are only so many hilarious actors so when they cross-pollinate, people assume it's always the same actors and directors.

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.

Actually I'd had a certain amount of experience in Europe in the inter-war period, as a banker, and I was also a member of the Board of Directors of the International Chamber of Commerce.

I've figured out what to do so far, but it's always the next thing you come to where the man with the bucket of ice cold water is waiting - whoosh! in your face. That's why you work with directors who know what to tell you to do.

Arnold and Jamie Lee must have worked over the years with directors that did 50 takes, because I'd get like three takes or so and say, Ok, that's it, we're done.

I loved doing all those costume dramas. I didn't think, 'Ooh I've got to avoid being typecast' - you can't ever be dictated to by what other people think. I just do things because I fancy the parts and the directors.

I think directors should be confident in their leadership capabilities. I think directors should be confident in what they want to do.

When you look at the early-'30s movies, like King Kong, the codes of acting are very similar to those of silent movies. In some of the silent movies - the good ones, the ones done by the best directors - the acting is very, very natural.