Directors Quotes - Page 18

So, yes, there's nothing I love more than listening to directors talk about their movies.

By the first week of shooting, you know exactly where your film is heading based on the psychology of your director.

The joy about the recording is that you are your own boss. You don't have a director telling you how to do it.

[Hillary Clinton'] transition director being Ken Salazar, I think, indicates that she will continue to be a friend to fracking. It's not possible to solve the climate crisis while we continue to expand fracking.

One reason I left local news was that I was tired of the constant musical chairs among news directors.

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

It was difficult every ten days having a new director. I'm a real collaborator and, as an actor, I want to be directed. It's hard for me to shift gears.

I'm not one of these directors, so far, that wants to have a whole separate director's cut of these things. So far they've turned out to be kind of the length that they wanted to be.

It was a movement that had all the art critics, all the museum directors in its thrall.

Id love to see more women working as directors and producers.

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.

The contemporary Japanese directors who are well-known in the West - say, Kiyoshi Kurosawa, Takeshi Kitano, Naomi Kawase - are mostly unknown to Japanese, particularly of the younger generation.

A film actor is just a victim of directors and editors.

When you work with a great director, you can have a great partnership.

During my nearly five years as director-general of WHO, high-level policymakers have increasingly recognized that health is central to sustainable development.

I would never have become music director of the Chicago Symphony, which would have been an extremely sad loss.

It's a surreal thing because you are there and made up and dressed up as if you're making the film. You do the scene, which is going to be in the film, and I met him [Daniel Craig] and I'm working with the director, and so it is different to just a normal audition.

I'm not like one of those actors who's a frustrated director.

On set I keep myself to myself; I'd rather the director speak up. I'm not gonna direct a younger actor. I think the power of example works best, actually.

I think filmmaking should be a wonderfully free collaborative process, and it so very rarely is. I often see directors as jailers of my talent.

I'd like to work with any actress from whom I can learn-one who has had many experiences with many directors and is willing to share some of her knowledge with me.

I don't like actors who try to talk directors into making their part bigger and that's really lame.

I have always credited the writer of the original material above the title: Mario Puzo's The Godfather, Bram Stoker's Dracula, or John Grisham's The Rainmaker. I felt that I didn't have the right to Francis Coppola's anything unless I had written the story and the screenplay.

I wanted to be a film student again, as a man in my 60s. To go someplace alone and see what you can cook up, with non-existent budgets. I didn't want to be surrounded by comforts and colleagues, which you have when when you're a big time director. I wanted to write personal works.

Any good movie is filled with secrets. If a director doesn't leave anything unsaid, it's a lousy picture. If a picture's unsaid, it's a lousy picture. If a picture is good, it's mysterious, with things unsaid.