Director Quotes

The film is a direct mirror of the director. If your director doesn't know how to dress, there will be an aesthetic of the film that won't come through - whether it's in the costumes if he doesn't know exactly what he wants or the look of the film.

My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.

I think that for the actors, the last thing that they want is a director that's not watching, a director that goes 'Okay, it sounded good to me,' and they were doing something else or preoccupied with something else because they were worried about the light changing.

I seemed to belong to three countries: I had an apartment in Paris, a house in Hollywood, and when I married British theater director Peter Hall, I moved to London.

I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.

The director calmed me down and told me I was being too hard on myself. He went on to say that I wasn't quite as bad as I thought, but needed to tone things down a bit.

It's a morality film, and it poses the question "What would you do?" I took it very seriously, just as the director did in terms of atmosphere and lighting, and I was just trying to help that vision along.

The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.

I had come to the point when I realized it was unlikely that my film career was going to move beyond a certain level of role. And I was - because I had graphic instances of it - handicapped by the success of Star Trek. A director would say, 'I don't want Jean-Luc Picard in my movie' - and this was compounded by X-Men as well.

A lot of the things that we've been able to do in the last several years were Democratic ideas, including the structure for this new director of national intelligence.

If you think you don't want to play another psychopath, but the script is amazing, and the director is fantastic, and the story is incredible, then you may end up playing your third psychopath in a row.

The 'transition' involves the transfer of power from one president to another. In recent times, the incoming President has designated a Director of the Transition, a team leader, to oversee and administer the orderly transfer of power.

The thing I love about acting is that it's got nothing to do with me; it's about bringing forth a director's vision. It's like a release. I'm glad it's come back into my life.

I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.

The director is a Canadian, Jeff Stephenson, and any time I get a script that has any Canadian component, I'm always immediately much more interested.

The best director is the one you don't see.

I believe the director is the one that sets the mood and if you have this hysterical director it's a domino effect. I would work for him forever, for nothing. Don't tell my agent that.

The standard rumor at the time was that Rumsfeld, as chief of staff, had persuaded President Ford to appoint George H.W. Bush as director of Central Intelligence, assuming that that got rid of a potential competitor for the presidency.

I have been working in television for quite a long time. In television, the writer is the constant, and the director is rotated in and out. I am very use to dealing with people's methods. And perspectives.

If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.

If you do well as an actor, a good director will pick up on it, and keep it in the film.

I didn't really know what I wanted to do, and then I got this call from a casting director in Los Angeles. She remembered me from something years before, and she called my mom wanting me to audition for this thing.

Judd Apatow is pretty good, both as a producer and as a director.

The writing is really hard. You're alone. It really pulls it out of you. You pull it out of your head. But when you're a director, you're shopping - you're picking this actor, you're picking this scene. It's like the most intense kinetic high-speed shopping of all time. You sit in a chair and it will all come rushing at you like a wind tunnel.

I had pictured myself as a filmmaker but I had never pictured myself as a director if that makes any sense at all.

I was in Japan, and my assistant director had worked with Kurosawa. I used quite of number of Kurosawa's crew.

There has never been a female director who has won an Oscar. There has only been one woman who won at the Cannes Film Festival.

Every director is so different from every other one.

The thing about For Better or Worse is the only thing that made me an okay director for that is that I have a sense of humor, and it was supposed to be funny.

I'm not an easygoing guy as a director.