Directors Quotes

A lot of directors, they're creative, but they're different.

As far as directors, I'm a big fan of any kind of Billy Wilder stuff. Anything he does.

But on this show, it's a good question because in the 35 shows that we've done now, I've really made a consistent effort to really shadow the directors because in many ways they have to be more prepared than feature directors.

Personally, I can't stand violence. In any standard American mainstream movie, there's 20 times more violence than in any one of my films, so I don't know why those directors aren't asked why they're such specialists for violence.

If it were up to the executives, they probably wouldn't have directors at all.

I get crushes on directors because they are so brilliant.

You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.

I'm actually one who will encourage directors to cut my lines.

Well, it gives me the opportunity to make the movies that I want to do, because L'Oreal pays me very well. Also it means that I can work with great directors. My last commercial was directed by Erick Zonca, who made 'Dream Life of Angels.' And finally, it doesn't take up a lot of my time.

You have always had individual directors who begin in the advertising or commercial world, but they are probably exceptions rather than the traditional pattern.

Other, far fewer, directors are more like the composer - conceptualizing the piece, scoring it, distributing its musical lines among a range of registers, chords, and instruments.

I worked for a lot of directors.

My sense is, I think it's okay for directors to do movies that speak to other work in their career.

Directors work 10 times harder than anyone else. Get paid a quarter.

We all like indie directors - heck, I even married one... but we're divorced now.

But I don't really care for directors flaring up and trying to humble some actor, which they would do to try and make an example out of them so everybody else would stay on the ball - and David wasn't anything like that.

When actors give their input, it can be very ego-driven, and directors are scared of that.

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

Granted, the writers, directors, producers, and that community make a great deal of money. But they might be choosing to do a whole lot of other things for the living they make.

Usually directors hire me because I'm what they are looking for. But once in a while, and it's very rare, they will hire me and then try to make me over.

Over the years with movies, I've given directors notes.

All these directors who do different locations forget that one room can be shot from a million different angles and a million different ways. When I direct a movie, I'm going to use that.

John Carpenter created the idea of Halloween, so his vision remains the most focused and intelligently directed of the series. The directors that have followed have kept the original intent of the concept.

I want to work with great directors. I want to work on good material with good actors. I've probably done 20 movies at this point and a lot of independents. It's been an incredible ride and I love it and I'm just going to keep going and doing what I'm doing.

They offered me that film before I did Frida and I said, no, I'm not capable of directing. Then after seeing Julie direct, I was inspired by it. She motivated me to do it, because we don't have role models as woman for directors.

I like directors who have worked as actors. They know the experience.

I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.

I go where the material is, and I feel like I'm looking for really strong directors. That's the key ingredient. There are some directors I would move the sun and earth for, or stop the rotation of the planets, just to work with them.

I don't always see my movies right away. And there are some I haven't seen at all. Sometimes that bothers the directors, so I'm obliged to see them.

As an artist, program directors always want to put you in a little box.