Director Quotes

The joy about the recording is that you are your own boss. You don't have a director telling you how to do it.

I think drug movies free the director to make intense films.

I think the wonderful thing about doing theater is that it's more of an actor's medium. I think that film is more of a director's medium. You can't edit something out on stage. It's there.

If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.

I'm so happy to have been a part of that process and I would go straight back into the desert in a ton of chain mail for Ridley any day of the week. He's an amazing director and I can't wait to see the long version.

I'm doing a little consulting. I'm somewhat retired, still a director of a company or two.

A director just pushes them a little this way or that way.

My biggest role as director on the film is keeping a sense of the overview - how to cast the movie and shoot it in such a way that it will cut together. And how to design the style and tone.

It's a director's job to tell a story and he's very well versed in telling stories with a bit of comedy in them and keeping the pace of the movie right and that's exactly what he did. He was observant of a world he didn't understand but he told a wonderful story.

Obviously I'd love to work with any of these great directors because every time I've worked with them I've gained a tremendous amount as an actor. Each director has his own way of pushing you towards improving yourself.

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.