Directors Quotes - Page 48

If you are able to see on a monitor what it's actually going to look like and have that kind of feedback informing your decisions, then you're bringing back a lot of the decision-making process of the designer, the director of photography and the director away from the post-production process and bringing it back into the actual capturing of the event on film.

I'm very interested in directing actors - many directors direct cameras.

(Sometimes when) someone's directing for the first time, they're afraid to include everyone - they have to prove they're the director.

[on editing of the films] There is always a question of time, and the director. I've worked with a lot of directors who don't mind my involvement. They appreciated it.

Things come out of nowhere, and you start evaluating the director, the cast, and all those other things going into it.

When I came to England, the first director I met was Charles Sturridge, who told me, 'You speak like somebody out of the 1950s.

Ensure that your script is watertight. If it's not on the page, it will never magically appear on the screen.

[Donald Trump] has confidence in Director [James] Comey. We have had a great relationship with him over the last several weeks. He's extremely competent.

So when I got the chance to do my first talk show, 50 years ago last month, I never had any writers. There was no budget - it was just me and the camera and my friend who was the director. I talked about what I'd done that week.

I love it when the director says, 'Rebel, just do whatever you want.' I'm, like, 'Yes!

Movie making is really, it's a director's medium, it's not even so much an actor's medium.

There is a magic thing called 'tone' in a film, that the director must master and maintain.

At best, I think of a director as a magnet. You get all the metal fillings in all the individual actors and crew, and get those filings moving toward your magnetic direction.

I would say that maybe directors who act as well are easier with actors. I'm not saying that all directors have this, but sometimes you'll come across a director who sort of looks at an actor a bit like a kind of untrained horse that's been let out of the stable, like they might buck him.

You either are a good director or you're not.

So, we come out to Los Angeles. And we met with every network. We met with show runners, directors, writers, everything. And what we had an idea for, they didn't like. And what they had an idea for, we didn't like. So, we went home.

In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.

As an actor, I love working with directors. As much as I love working with other actors.

There are a lot of actors who will watch the monitors. They'll do a scene, and then the director will look back to see if he got whatever he wanted. I just find it odd to sit there and watch yourself. But if you can be objective, I can see how it's really useful as a tool, especially if you're doing something physical.

Fifty-percent of the director's job honestly is casting the movie well.

My biggest advice for women writer/directors is to always be attempting to make work that avoids pandering to the conceptions that the industry has put in place for "women directors."

The actor shouldn't edit themselves or be anxious. And the actors that I admire are always the ones who are inventive and their imaginative life in free-willing. It's a director's job to go, "No here, don't do that, go there."

If you're a casting director, you're going to be curious to see what Timothy Spall's son is like. But when you get in the door, you have to have something to offer.

I get to meet different directors and different people.

Critics don't want to see directors they like make too much of a left turn. That's good for criticism.