Directors Quotes

It is not easy to get parts in mainstream films for most people of color. Hollywood and British writers are not writing parts for us, or the directors are not interested in casting us in parts that are color-blind.

Whatever talent I had, I'm sure it helped that my parents were in the business and that I grew up around actors, comedians and directors.

Cukor is one of my favorite directors. He was a master at directing women.

Personally I'm very happy to be behind the scenes. I like collaboration, I like working with directors.

I wanted to trust in my partners and the directors and producers and do the best I can to deliver what I could deliver.

Many plays - certainly mine - are like blank checks. The actors and directors put their own signatures on them.

I have zero tolerance for people who don't come completely prepared. I expect contribution, I expect attendance, and I expect directors to take trips and visit the company's programs.

The directors thought, They understand nothing in the real economy, in real life. They read some stupid books, and they came from the moon to the earth, and maybe in one month they will disappear.

Every time I make American film I just trust American directors and American writers.

I'm so lucky to have the opportunity to work with some directors and some actors I wouldn't have dared to think I would work with one day.

A lot of directors are great and they are fine but you know I think that Harry really takes a special point to really engage the actors and really make it feel like a safe place for them to explore whatever it is they want to explore in whatever scene with their character.

I watched a couple of really bad directors work, and I saw how they completely botched it up and missed the visual opportunities of the scene when we had put things in front of them as opportunities. Set pieces, props and so on.

When I think back on it, of course I got lucky and got great directors and good breaks but all that was the physical part. But what made me a star was that I could take a chance and not have anything to worry about in terms of losing.

All film directors, even the ones using 3-D today, want you to look at what they chose.

The great thing about having spent all this time on film sets is that I've been able to watch directors and how they work. I now know that this is what I want to do as well: to tell stories visually. But it's definitely my vision that I want to put across, nobody else's.

In the past I've worked with directors who saw very much their scene in their head and knew exactly how they were going to cut it.

When we did concerts, we wanted them to be theatrical events - collaborations with designers, choreographers, and directors - because we thought traditional rock concerts were boring.

Awards are important for all directors because they improve your working conditions. You're only as good as your last film, so if you get prizes or large audiences, then you get more money for your next film.

I have worked with some very great directors.

It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.

All of the directors I've worked with I've gotten along with very well.

Everything is entertainment; criticism is now entertainment and it seems that the French directors have woken up one day and suddenly realised that they were not backed up any more.

To deny women directors, as I suspect is happening in the States, is to deny the feminine vision.

I love being on sets with very seasoned directors as well as very new directors. Every time is a discovery process. You learn something new every time.

You have to remind casting directors out here that you don't just do one thing. There's a lot of people who do just one thing.

I deal with guys in their 20s and early 30s who are presidents of companies, who are movie directors.

Do you know what directors go through? It's just hell. Like, why do I work so hard - to think I'm only going to see this movie five times and then never see it again 'cause I'm so sick of it? What is it worth, honestly?

Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.

To be honest with you, a lot of directors can be very lazy.

There aren't many American directors here trying to direct a Japanese yakuza film. When you combine that with the fact that I don't speak much Japanese and this was an independent film I was financing myself - people were curious about what I was doing.