Directors Quotes - Page 45

It's so sad to me [see the director's versions of films] because it shows how the filmmaker never got to make the film he had originally envisioned. You watch it and go, "Oh my god, he had to cut that scene! I can't believe it."

A lot of times, actors and directors don't want to repeat something. I don't think we're repeating something, but I think there's certainly a genre that we're in, and we're happy to embrace it.

It's strange - some directors are really talented but they can be so precious when it comes to letting you be a part of it.

With my personal work I prefer not to work from storyboards because being a director, producer and animator in one person I don't have to communicate my idea to anyone else, I can keep the feeling of the story, the story arc and structure in my head.

An appreciable number of directors have shifted to lower-cost films, allowing them to be satisfied with a more modest return.

I feel I should defer to the writers and the directors because theyre the ones who have the complete vision. They see things through from the beginning to the end. Im responsible for one small part, so my scope is much more limited than theirs.

I worked with Roger Moore on three episodes of The Saint. He is a lovely man, a good director, and was my favourite actor to work with.

I'd love to be a huge television director. I definitely want to do that. I could imagine me going more and more into that, as I age.

I am very clear that when I work with a director what he or she says is the last word.

I believe young female directors in particular should always remind themselves of the truths of their own stories and not let outsiders influence the authenticity of their films.

Sometimes what you lose in the time it takes to let an actor do something that you don't like as a director, you gain in not shutting them down creatively by telling them their idea sucks.

If a director takes the time to document - to step back to observe - I think it I more honest. Because it has to be the public that makes the conclusions and who, possibly, resolves the situation.

As Claude LeLouche said, his favorite American director is Sergio Leone. Not because I would be American, but because I was dealing with subject matter that an American could have just as easily dealt with.

The first must that any director has is to not force his public.

Virtue needs a director and guide. Vice can be learned even without a teacher.

What happens is things come to you - director, script - and if you respond to it, it's because it's tapping into some part of what's inside you, and different roles tap into different parts.

My job as the director is to make that as authentic as I can and not to disturb the revelry.

As an actor, I know immediately if I'm saying a word that doesn't feel right coming out of my mouth, and I know how to change it. But as a director watching something, or even as a writer reading a script, sometimes it's not always clear what needs to be fixed.

He [Oliver Stone] is great. I really like working with directors who know what they want and aren't afraid to tell you, "Do it like this. Don't do it like that."

It's hard to give up that amount of control. It's scary to make yourself that vulnerable. Because you might do all kinds of things that are unplanned or are unexpected that maybe don't work, and you have to trust the director to see that and work around those things. I find it really scary.

It's mostly directors whom I get starstruck around.

You often have a great director who's like, "Well, actually I don't even want to reveal you until the end of this scene" or something like that and it totally changes everything that you thought it was going to be.

I've always traveled with the films because I want the audience to be my teacher so that I can learn for the next one.

Different directors have different things, so when I left Mike Leigh, as it were, and I went into other projects after 'All or Nothing,' it took some getting used to - what do you mean there's a script?!?' That kind of thing.

I have been incredibly fortunate to be able to work with good directors and for me it's not really a plan each time I'm on a set with one of them; I think about what I can learn from them because I'm very aware that my filmmaking skills are very modest.