Quotes of All Topics . Occasions . Authors
Well, in the theater, I think you're actually more responsible for what is going on onstage as a director than you are in film.
It's pretty damning. That's Hillary Clinton juxtaposed against the FBI Director Comey yesterday, clearly illustrating she lied.
When I came to England, the first director I met was Charles Sturridge, who told me, 'You speak like somebody out of the 1950s.
I like working with a first time director. I'm more likely to work with a first time director than I am a second time director.
Working with a great director is wonderful for an actor because it means that you're not forced to take the advice of an idiot.
Every actor. every director, everybody needs an Oscar. You have to have that little statue in Hollywood or else you are nothing.
I didn't even know what a film director was. To me, Charlie Chaplin was a goofy clown, and John Ford - what? Never heard of him.
I always feel like the less you say when you're making a movie, as a director, is the best. That means everything's going great.
I happen to have worked with male directors who don't understand women at all. Not at all. I'm flabbergasted by their ignorance.
I'm working on a project called Lemons, produced by Killer Films. The director has a great perspective on character development.
I was pampered by all my father's directors and producers during childhood. But at home, my father made sure I led a normal life.
I'll always be attached to telly in one way or another, whether it's a character or producer or director, I just love the medium.
I don't like people who use the press to advance themselves in a way that they haven't earned as an actor, performer or director.
I was lucky to have my wife as the art director, and it turned out to be quite something - a great success. I'm very proud of it.
I don't really consider myself a female director, and I don't want to do so for other women. Female directors are just directors.
A TREAT. FASCINATING. Director Lipes is a classic cinéma vérité practitioner in the mold of Albert Maysles and Frederick Wiseman.
Jamie Foley - he's a very different energy to [director] Sam [Taylor-Johnson]. The whole experience was actually quite different.
The attitude of the English towards English history reminds one a good deal of the attitude of a Hollywood director towards love.
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 always scout locations first. The apartments, the railway tracks, the café, the canal - I figure out the geography of the film.
It is great to work on different scripts with different directors who have different styles. You get so much experience from that.
There's a different set of writers and a different director for the films, but Marvel has turned it into a pretty spectacular job.
If you're working with a director you trust, you can turn that part of you off that wants to direct other actors in a certain way.
I do a film because I like the story and I want to give life to a character - I don't necessarily have to agree with the director.
A lot of actors aren't particularly good directors. And they're not particularly good with other actors. That's kind of a fallacy.
The relationship between an actor and a director is like a love story between a man and a woman. I'm sure sometimes I'm the woman.
Carefully execute every instruction given to you by the director, producer, and studio. But that would be a life not worth living.
When I was younger, I used to write to directors when I was unsure I could play a role. I'd say: 'You've made a terrible mistake.'
In the future, everybody is going to be a director. Somebody's got to live a real life so we have something to make a movie about.
I love working fast. I don't relish the director who wants to do 25 to 30 takes, or the actors who insist on doing 25 or 30 takes.
Because of 'The Birds' and 'Marnie' I was, as the expression goes, hot in Hollywood and producers and directors wanted to hire me.
Is there something in druggy subjects that encourages directors to make imitation film noir? Film noir itself becomes an addiction.
When you are working hard, you don't have time for anything other than what you are doing in the scene and what the director wants.
The showrunner relationship in television is what the director relationship in film, there's really no more important relationship.
William Castle and Alfred Hitchcock were the first director-personalities. Before then, nobody in America knew what a director was.
DNI director [James] Clapper said as much many, many times, that there is no evidence that any outcome of the election was changed.
I like strong women. Strong women characters have always existed in the movies of directors such as K. Balachander and Mani Ratnam.
I don't come in with any preconceived ideas, and although I will have done some preparation, I can go which way the director wants.
In truth, Edward Teller ran the Livermore Lab, but for public purposes he liked it better to be known as only an associate director
I aspire to be an instrument of the director. I'm happiest like that. The stronger the director, the more I'm willing to give them.
I've been really lucky in terms of film projects with people, terrific actors and also writers and directors that I really respect.
Over the long haul I'd say that most directors I've worked with have been pretty sensitive to the quality of the interpreted scenes.
I don't need to work right away. I'd rather wait for something really good; to be excited about a role, or a director, or a project.
As a director you want to show the truth of people and sometimes that's unflattering, or it's not something that people want to see.
I actually love Scorsese comedies. He's an underrated comedy director. I think his comedies are some of the best comedies ever made.
I'd love to be a huge television director. I definitely want to do that. I could imagine me going more and more into that, as I age.
If you're not grown up enough to understand that a trailer is not done by the director, then fine. Judge the movie from the trailer.
I look for the character to be something interesting, the script to have a good story and be original, and a director that I admire.
We discard the personal specifics which don't conform to the ideal conventional beauty created by art directors and cinematographers.
Somebody said that I'm a bit like a sponge, grabbing things here and there, soaking stuff up. [As a director] you have to be, really.