Director Quotes

I wanted to do - there was this film called 'Magic' that Anthony Hopkins did. And the director wanted me. The writer wanted me. Joe Levine said no, I don't want any comedians in this.

I tend to project my father figure onto any director that I'm working with, or mother, if I'm working with a female, or it can be confused.

I only travel to good material, a good director and a good company. I won't work in another country for a year any longer, because I have a lovely wife and I adore her and I can't bear to be away from her.

Of course I'm schooled in the old school method: taking what I think the director wants, then reworking it through my own brain and heart.

Do whatever you're directed to do, and leave the rest of that technical stuff up to the director.

A good script and a good brief from the director is enough to let me know what is expected of me.

I've definitely become more aware and conscious of what directors I'm working with because it's so important. The director is really more than half the battle of the film. You really rely on that. That's become really, really important to me, for sure.

Every time I work with a European director, I find they hire the person that captures the spirit of the role. Americans tend to hire the best face. The person that looks more like the role, whether they can perform the role or not is a bonus.

You know, as director of the CIA, I got an awful lot of intelligence about all the horrible things that could go on across the world.

Directing doesn't appeal to me. I'm much more in the world of ideas. My husband is a director, and I understand what it takes to direct. It's a skill set where you have to be able to talk to actors and understand them, and I don't. It's a very different way of being in the world, and I much prefer writing and producing.

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

The director is the only person who knows what the film is about.

I sketched out a rough story for them and the director said, well it's a good story but we have the go-ahead from Universal to make this script and did I want to do it. I said no, and they left.

If I feel the part is right, and I know that the producers and the director want me, I'd go for broke. Always.

So I started to learn Russian and I was one of those probably way too eager, annoying young actor kids who was trying to change all my lines to Russian, much to the dismay of the director and Nic Cage.

You talk about what a director, he was smart. He said, Turn the camera on!

I provide the bricks and mortar with the words and situations - the director and the actors and the designers build the house.

But you really - I always think that a director has got to adapt to whatever the needs of the actor are. You know, so if you take someone like Eddie Murphy, who is not a big fan of rehearsal. You know he comes out of stand-up. He comes - it's all about capturing the moment - in the moment, you know.

Working with a great director is like getting a master class in acting.

A film's success or failure is strictly on the director's shoulders.

I think the director is becoming more important. To work under rushed conditions, you need to have an extremely professional director. If the director's good than the end result will be good.

I love having a master. I have no problem serving my director. That's my job. I want to make them happy.

Tarantino is the coolest damn guy; he's just so much fun to work with. He might be the best director I've ever worked with. He just seems to know how to do it and he knows how to make you feel good about it. He's having so much fun you start having fun. You can't help it.

A director is a choreographer, both politically and creatively.

I spent four months in Prague in these blue rooms reacting to nothing and you basically place your faith in the hands of the director and the special effects co-coordinator and you keep your fingers crossed and hope that the creatures look really scary.

Obviously, if a director doesn't communicative a clear, relevant vision of the material, it will not succeed no matter how good the material.

I just knew how to do the one thing I did, and whether I did it well or not depended on who the director was.

What I look for in a script is something that challenges me, something that breaks new ground, something that allows me to flex my director muscle. You have got to think fast in this business, you've got to keep reinventing yourself to stay on top.

An actor really suffers when the director isn't prepared because you start running out of time for the shoot and then have to do it fast.

I was concerned about who he would put in there as FBI director because he had expressed antipathy for the FBI, for the director. I was going to stay there and make sure that he couldn't replace me.