Directors Quotes

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

There are two kinds of directors: There's the kind where two plus two equals four, and you have to help them figure it out. And then there's the kind that throws you in a room, locks the door, sets the house on fire and films it.

I think my favorite, and Coppola and that whole thing. East coast Italian directors I guess.

I've never let producers tell me what to do. Even when I was making television, I always did what I wanted to do, and if I couldn't, I didn't do it. It was a freedom that, these days, young directors starting out don't have.

I worked for John Ford, Howard Hawks, Henry Hathaway, Raoul Walsh - I worked for some real good directors.

European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films.

I really liked doing a number of the projects and directors, and etc., etc., I knew about half-way through that I would never be doing that again. It's just not me. I really am happy as a part-time film composer, not a full-time film composer.

The parameters are such that I don't get offered a lot of work. I'm sure most directors hear my list of don'ts and say forget it.

I have a real thing for Mexican directors. And I love Guillermo del Toro and Alejandro Gonzalez Inarritu.

Most film directors do not come up with their own subjects or write their own screenplays.

Gotta watch out for directors.

Norwegian kids, they grow up well educated in film. So they have a lot of good directors there.

And I just want to work with good directors and good people.

A lot of young directors, they're not confident; they're not open to the emotional level of the scene.

I've always said to people that auteurism is nice, but it's hypothetical, and gradually you learn how much or how little influence different directors had.

Directors, producers can make you look good or make you look bad.

Things have changed a great deal since the days of Mr. Mayer. The studios no longer control, as they did in those days, artists or directors or producers, as the case may be.

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

I think every director has a different take, some are good, some are bad. The directors you get on best with sometimes don't make the best films, so who's to say who is right.

The director's who want to be innovative use the DVD as a tool to see what people have done in the past and you have other people who will actually take from better directors and that makes them better directors.

There are only so many hilarious actors so when they cross-pollinate, people assume it's always the same actors and directors.

Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.

Actually I'd had a certain amount of experience in Europe in the inter-war period, as a banker, and I was also a member of the Board of Directors of the International Chamber of Commerce.

I've figured out what to do so far, but it's always the next thing you come to where the man with the bucket of ice cold water is waiting - whoosh! in your face. That's why you work with directors who know what to tell you to do.

Arnold and Jamie Lee must have worked over the years with directors that did 50 takes, because I'd get like three takes or so and say, Ok, that's it, we're done.

I loved doing all those costume dramas. I didn't think, 'Ooh I've got to avoid being typecast' - you can't ever be dictated to by what other people think. I just do things because I fancy the parts and the directors.

I think directors should be confident in their leadership capabilities. I think directors should be confident in what they want to do.

When you look at the early-'30s movies, like King Kong, the codes of acting are very similar to those of silent movies. In some of the silent movies - the good ones, the ones done by the best directors - the acting is very, very natural.

I'm only wanted by directors for the image I give off, and it makes me angry. I always wanted to be an actor and not a beauty pageant winner.

Having been a child actor, I remember how directors would trick me to get good performances out of me. I don't think you need to do that.