Directors Quotes - Page 39

I had a 90-minute one-man show. I performed it and my life just exploded. Everything - my life just changed. Every writer, director, producer, studio head, movie star - they all wanted it. It was the hottest property since 'Rocky.'

I like working with different directors; it keeps you on your toes.

I happen to have worked with male directors who don't understand women at all. Not at all. I'm flabbergasted by their ignorance.

I feel like actors, having spent a lot of time on movie sets, tend to make decent directors, because they've been there, they know what they're doing, they've seen it done right, they've seen it done wrong, and they feel comfortable. There's not a lot of chin-scratching and wondering what your next move is.

It's hard to be surprised by a film. It's hard to be surprised by another actor or by a director when you've seen enough and been around. So when I am, or when I forget that I'm watching someone's movie, or when I don't know how someone made a certain turn that I didn't expect... You know, I'm in.

For us, as actors, and even for the director, it gave us a sense of authenticity to what we were doing because we were talking about Hollywood and we were in Hollywood.

I'm an unusual director in that my cut is usually shorter then the final released film. I like short films.

Hillary Clinton ripped FBI Director Louis Freeh on Wednesday. She said she can't understand how FBI documents could vanish and then mysteriously reappear. She has to say that or she'd be thrown out of the Magician's Society.

It is very difficult to follow your own method all the time because you may crash against some directors who want from you something different. Trying to understand the material, who you're working with, and how can you fit in there. That is my approach.

You know, I became a director out of necessity. I was writing comedies, and I couldn't find anybody to deliver it correctly.

Directors have a tendency to use their hands like orchestra conductors. They don't realize that the actor is looking at their faces, anyway.

Most of the films are only 60% taken, rest is a director's input.

In every shoot, between the actor and the director there is manipulation. I'm not saying that negatively. It's healthy.

The directors of such companies, however, being the managers rather of other people's money than of their own, it cannot well be expected, that they should watch over it with the same anxious vigilance with which the partners in a private copartnery frequently watch over their own.... Negligence and profusion, therefore, must always prevail, more or less, in the management of the affairs of such a company.

I think it's possible to be free in a big production. It's the eye of the director and the actor and the story.

I thought it was a huge conflict of interest to be the director and the subject - it's very sketchy territory to be in. I've seen what's happened to other directors who have done that.

Obviously there was Keith Haring and Robert Mapplethorpe, but Howard was on the brink of becoming a famous director - it didn't happen because he died.

When I read the script [of Good Kill], it read like a science fiction film. And Andrew [writer/director Andrew Niccol] is known for sci-fi. But when I spoke to him, he said this picture was 100% factual, which blew my mind. I realized then how little I knew about the drone program. And I felt that, if I knew so little about it, there must be others who should be educated about what's going on.

I think, a lot of times, directors assume that whatever they get from you the first time, whether it be at an audition or on set, is all that you can bring.

I've definitely gotten to work with female directors, and I feel lucky because of that. I just feel like more voices should be represented.

I'm pretty sure a lot of directors would be thrilled to cast age appropriate roles. I am.

One thing that is true in TV is that you do hire the directors. As the writer, it's very different than in features, where you feel like, "If I want this to be this way, I better direct it."

It just so happened that J.C.[Chandor] was a first-time feature director, and his script was exactly the kind of thing we were looking for.

I love supporting emerging voices, and new writers and directors. I love engaging an audience in a way that doesn't have to involve me, personally, and yet still generates an experience for groups of people.

James DeMonaco is one of my favorite directors I’ve ever worked with. I think he shoots really well and all that, but the work environment he creates – he makes everyone feel respected, he makes everyone feel appreciated, and he’s a true collaborator.