Quotes of All Topics . Occasions . Authors
From the start, there was unanimity about my arrival at Manchester City. The coach, the executive director Garry Cook, and chairman Khaldoun al-Mubarak - I felt everyone wanted me.
To reform the Secret Service, the agency needs a director from outside the agency who will be immune from that culture and not beholden to entrenched bureaucrats within the agency.
Like any creative human being, I would like a bit more control so that it would be a little easier for me when the director says, 'One tear, right now,' that one tear would pop out.
I got space from Travis Air Force Base, went back to the Philippine Islands and made it a point to meet the only American casting director in the Philippines. I was off and running.
The ladder of success in Hollywood is usually a press agent, actor, director, producer, leading man; and you are a star if you sleep with each of them in that order. Crude, but true.
As for Tenacious D, of course it could work as a full length movie; all it requires is a great writer and great director with an ability to think outside of conventional film comedy.
When I became a director, I wanted to convince a very reluctant Sidney into allowing me to go on the journey of his life. Sidney had gone ahead of every other African American actor.
I'm not one of these directors, so far, that wants to have a whole separate director's cut of these things. So far they've turned out to be kind of the length that they wanted to be.
A good director is like a good coach. You want to play for him. You want to really show him your good stuff. You don't want to let that person down. Ridley Scott is one of those guys.
Interestingly, 'October Sky' is an anagram of 'Rocket Boys', the same letters just moved around. This was discovered by director Joe Johnston using an anagram program on his computer.
I didn't dream about being a director. I didn't know I wanted to do something with film until the summer between my sophomore and junior years at Morehouse College in Atlanta, Georgia.
You don't have to like an actor to do a scene with him. You don't have to like a director. But it's just better if you do. And I think, you know, you've got to begin that with respect.
I believe the director is the one that sets the mood and if you have this hysterical director it's a domino effect. I would work for him forever, for nothing. Don't tell my agent that.
If you're good at your job, you're good at your job regardless of being male, female, whatever. Either you're a good director or you're not, and there are plenty of bad male directors.
My director is usually aware of what works for me and what doesn't. For 'Srimanthudu,' I have to give full credit to director Koratala Sivagaru for handling my character the way he did.
You never learn to act in front of a camera. You never learn anything in front of a camera. But you learn to act in a rehearsal room with a good play and a good cast and a good director.
Everybody that's on a set - from the director to the grips to the electricians - it's all about problem solving. So, as empowered as you can make everybody feel, that's really important.
I came up in the community center. I used to be physical director of the South Central Community Center in Chicago on 83rd. It's still there. It used to be around there when I was a kid.
'Ramaiya Vastavaiya' means, 'Ram, will you come?' The movie is a remake of the Telegu film 'Nuvvostanante Nenoddantana,' which was my first film as a director. So, it's close to my heart.
Being a director, whether you're in rehearsal or you're in auditions or you're in a creative meeting, is so much to me about being present in the moment. There's a sense of time stopping.
It's an honour for the entire 'Baahubali' team to be associated with Karan Johar, since he is the biggest name in the country as a producer and director with his brand Dharma Productions.
I'll tell you from my heart, looking at their party further and further to the left, to paraphrase the director of the FBI: I think it would be extremely careless to elect Hillary Clinton.
I've turned down jobs because I've said, 'Honestly, I can't find my way in. I can't do it. I love you, as a director. I think the script is good. You deserve better than I think I can do.'
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.
As a patriotic American, I am reluctant to leave my post as director of the National Economic Council because I feel a duty to fulfil my commitment to work on behalf of the American people.
Sometimes jobs are jobs, and when you guest star on television, you're also working with a guest director. You're the new kid on the block, because everyone else is already in the ensemble.
If a movie doesn't even have financing yet, they'll do a table read for it at a casting director's office with actors, for the producer and the writer, just to hear if the movie is working.
Every actress has a line she'll draw, where she'll say, 'This I will do and this I won't.' For me, everything has to be important to the story and the director has to be able to tell me why.
As a director, nobody told me I'd be talking to people all day. I'm naturally reclusive - I feel myself peek out at a certain point and go, 'All the extrovert in me is done! I'm on reserve!'
What happens is things come to you - director, script - and if you respond to it, it's because it's tapping into some part of what's inside you, and different roles tap into different parts.
I believe it's important to have a sporting director - someone to facilitate the communication between the club and the squad, and work on its planning. But not just at Madrid, at all teams.
It's fun finding your way to the performance instead of coming in and hoping to God you're impressing the director - and hoping you're delivering the lines right with no treatment beforehand.
With 'Family and Loyalty,' I didn't already have an idea for that video. So I called Fab Five Freddy. I wanted to get a director that I didn't have to explain Gang Starr to and he was with it.
I always try to develop a good relationship with the director on any film and make sure that we want the same things and we're talking about the same ideas, and that gives me great protection.
When I work as an art director, I don't ask to see sketches from illustrators or photographers. I give them a basic idea, and then I say, 'Send it to me, it'll be fine' - I get out of the way.
The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.
No, United Artists was a very extraordinary organization, because once they had agreed on the director, they believed in letting him have his way. They trusted me, and that doesn't often happen.
I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense - I want the director to see what I'm trying to do.
I don't say, 'Francis Ford Coppola, what a wonderful Italian-American director.' I judge him based on his film, his craft, his art. That's the way I feel I should be dealt with in this industry.
I had a director who told me a story about a fan who had commented on how nice it was to see her sister laughing and how happy the show made her. I like to make people happy and make them laugh.
'Ashes of Time' was my third film, and as a young director at that point, it's not very often that you have the chance to make a big martial arts film, so of course I jumped at this opportunity.
A director makes 100 decisions an hour. Students ask me how you know how to make the right decision, and I say to them, 'If you don't know how to make the right decision, you're not a director.'
My approach to working in movies is to empower the director to have power over me and to really support his vision because he's the guy, at the end of the day, who's going to put it all together.
In the year and a half I was on SNL, I never saw anybody ad lib anything. For a very good reason - the director cut according to the script. So, if you ad libbed, you'd be off mike and off camera.
A lot of directors don't know what they want to do. Every director I've seen that was a good director that I've admired knew exactly what he wanted to do. They didn't sit there and think about it.
I spent all my time on my movies worried that people were eating and that the schedule was being kept, so to have experts in those areas giving me the brain space as a writer and director is huge.
With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, 'Put some music in there.'
A director should not define everything. For me, the movie is a form of a question I pose to the others or to the audience. I want to ask their opinion on my point of view and discuss it with them.
The Dead was cool, It's a great horror story. I went to the casting director of this movie and talked to him, then they called my agent and had me come in and read for it and they wanted to use me.
Sometimes I get insecure about being a real director because I look at the great directors, and they have such command. But maybe that keeps me critical of myself. Maybe it keeps me moving forward.