Directors Quotes - Page 11

I feel like, if I'm being honest with myself, my biggest skill set is as a writer 'cause I can do that quickly and I'm really grounded in story structure. Part of my success as an actor, is that I know story well. Part of my success as a director, is how well I know story. Same thing, as a producer. It all begins and ends with me as a story creator. But, I love doing it all.

It is tough to be a woman. Also as an actor, but more so as a director. And even more today, when distributors and producers are looking at different kinds of films and maybe not necessarily what a woman would want to do.

I can't change my gender, and I refuse to stop making movies.

I basically put myself into directors' hands and let them tell me what to do, and the more they told me what to do, the more I liked it.

Sometimes the odds are against you-the director doesn't know what the hell he's doing, or something falls apart in the production, or you're working with an actor who's just unbearable.

Jamie Foley - he's a very different energy to [director] Sam [Taylor-Johnson]. The whole experience was actually quite different.

It's turned into a world of amateurs. There are amateur actors making millions of dollars, amateur cinematographers, amateur directors... Jesus, these amateur directors can get deals for anything. Another comic book? Oh, very good.

Give me a good script, and I'll be a hundred times better as a director.

'Ides of March' I did for scale - scale as a director, scale as an actor, scale as a writer.

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

I've been offered lots of movies. There's always some actor who's doing a project and would like to have me do it. But you look at the project and think, 'Gee, there are a lot of good directors who could do that.' I'd like to do something only I can do.

I've worked with some of the great cinematographers. So I'm always watching what they do and I'm watching how the director composes his shots, just because I find it interesting as an actor; you're trying to help them out as well.

My distinguishing talent is the ability to put people under the microscope, perhaps to go one or two layers farther down than some other directors.

How people are around a director, it really does affect everything, every detail of the life of the movie.

I feel like a good director provokes you to ask questions about your character, but doesn't answer them for you.

If all the world's a stage and all the people players, who in bloody hell hired the director?

I've always said to people that auteurism is nice, but it's hypothetical, and gradually you learn how much or how little influence different directors had.

There are so many elements that make a good film. You need a great director who's driving it.

If there's any relevant influence we may have with an investor, with a studio, with a director, with an actor, I think we have to fight.

[Making movies is] 80% script and 20% getting great actors. There's nothing else to it.

A director is a choreographer, both politically and creatively.

The first time I went over to [my director's] house, he said to me, This is a very strange play. I was pleased that he reminded me of that. [He] understands the play [VENUS] intellectually and emotionally and the humor, the funny bone.

I am a very impatient director.

I think all directors should be animators.

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.