Directors Quotes

After Star Trek, I was with the top agencies, but producers and directors did not know what to do with me.

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.

So I moved to Europe and only came back when directors like Robert Altman would call me after they'd seen my work in Full Metal Jacket.

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.

I have worked with some great directors.

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.

It's often the case with directors that they don't like to share credit, which is the case of Stanley. He would prefer just A Film By Stanley Kubrick including music and everything.

Every character I've ever played, I always try to take him right to the edge and not allow him to fall over, but directors have a tendency to pull me back a little bit.

I've run into some S.O.B. directors, but I gave them back as good as I got.

I've worked with very few directors who've asked of me what I asked of myself.

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.

So I've had really great assistant directors for my last seven movies.

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.

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.

We make a contract within ourselves as actors or directors or writers about how much of ourselves we let into projects. You can actually figure out before you work on something how much blood you will have to let emotionally.

I admire directors so much, I find them incredible: they manage such a huge number of people of different characters, think of the money involved.

It was a movement that had all the art critics, all the museum directors in its thrall.

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.