(When asked what a director does) I help.
A film director is not a creator, but a midwife. His business is to deliver the actor of a child that he did not know he had inside him.
The beautiful thing about it is that no two directors or actors work the same way. You also learn not to be afraid of discussion and conflict.
I provide the bricks and mortar with the words and situations - the director and the actors and the designers build the house.
Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.
Those who have themselves for a spiritual director have a fool for a spiritual director.
Good evening, ladies and gentleman. My name is Orson Welles. I am an actor. I am a writer. I am a producer. I am a director. I am a magician. I appear onstage and on the radio. Why are there so many of me and so few of you?
I've had really great experiences working with first-time directors. They come at filmmaking with fresh ideas. I've been very lucky that way.
There is no point in having sharp images when you've fuzzy ideas.
The difference between being an actor and a director is simple. The director has to hide his panic; the actor doesn't.
A lot of directors are overbearing and tend to make you doubt your instincts.
There's no such thing as "an auteurist filmmaker." Every film directors is an auteur. We only make films that we do because we cannot put on clothes that don't fit us.
We all steal, but if we're smart we steal from great directors. Then, we can call it influence.
Our intelligence community needs better coordination of operations and exchange of information, and that's why we need an overall director of national intelligence and a national counterterrorism center.
How many movies do you see when you can say this director really knew what film he wanted to make? I can count them on the fingers of one hand.
Every time you start a movie is to explore with a director and if you can with the actors and with the other collaborators and try to figure out what's the best way to tell the specific story.
When I was nine years old I use to copy ( not trace ) the covers of the Donald Duck comics. Many years later I became a close friend of Jack Hannah, the director of the Donald Duck film shorts.
Throughout whatever I do, I always just say "Director" first. I am directing the storylines and I'm creating what it is.
There are directors, and there are authors. I think I am more of an author than a director.
But the audience is right. They're always, always right. You hear directors complain that the advertising was lousy, the distribution is no good, the date was wrong to open the film. I don't believe that. The audience is never wrong. Never.
There are a lot of directors who make big money and do big things and then move out of the 'hood
That's the greatest sin a director can commit; to make a film simply because he wants to make a film.
Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.
Sometimes when I make a movie, my main goal is to show the movie to one particular director.
Audiences are harder to please if you're just giving them effects, but they're easy to please if it's a good story.
