Director Quotes

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.

To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.

The director had come to Madrid to court me.

The director's job should give you a sense of music without drawing attention to itself.

We as comics do want an immediate response from the audience. It's really quiet on the set, and there are only the producers, and the director, so a comic is looking for someone to give a reaction, even if it is the camera guy.

There's people constantly asking you for something on set, so the multi-tasking of motherhood transfers very well to being a director. And I think you're compassionate.

I'll work with a director if I think I'm going to get into a comfortable situation, and if it's someone I respect and who respects me, even if they're not so well known. Movies are hard to make, and you have to work toward a common ethic and do your best.

A director shouldn't get in the way of the movie, the story should.

When I feel like being a director, I write a novel.

It was weird because I was pregnant, throughout that so it was weird being a pregnant witch. I was in a really bad mood but luckily, because I sleep with the director, he just sort of scheduled me so I only had to do it two nights.

But I did on projects that I produced, that I directed, that I acted in because it was important. I want to be a filmmaker. I don't want to be an actor who directs, I want to be a director. I want to be a filmmaker. So that's a big difference.

In feature films the director is God; in documentary films God is the director.

Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.

You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie!

There are so many effects and so many things that are done digitally now that it's so hard for the director to really control the process, because there are more and more experts that come in.

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.