Directors Quotes

If you work in casting, it's sort of not cool to want to act. A lot of people think that casting directors are frustrated actors, but it wasn't true with any of the casting people I knew.

I am both proud and honored to be on the Board of Directors for the Texas Ballet Theater.

Get more women producers, writers, directors. Why should we expect men to do it for us? They can't.

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.

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 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.

I'm only wanted by directors for the image I give off, and it makes me angry. I always wanted to be an actor and not a beauty pageant winner.

Having been a child actor, I remember how directors would trick me to get good performances out of me. I don't think you need to do that.

Control is the wrong word. The practice is very much about sharing, and, in any creative practice, some individuals, whether partners or directors, are much closer to certain projects than I could ever be.