Directors Quotes - Page 50

I miss working with great actors, working with great directors.

Is there something in druggy subjects that encourages directors to make imitation film noir? Film noir itself becomes an addiction.

It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack.

I think that I just need to work with great directors and actors, people who are better than me, so that I am challenged.

You can't have a director say, "Just be you"; you have to have an aim. It's like when you throw darts, you have to know where the bullseye is. You can't just say, "No no no no no, drop the darts. Just stand. We're going to film you." You have to get there indirectly. You have to have me doing something, and then you can get "me."

I'm just happy when directors make a movie that is really sentimental but without being maudlin or saccharine or too much like Chewels gum. I don't want to be involved in a movie that's too much like a piece of Chewels.

I'd love to direct, and I think I'd be a great director, but... I've been approved by the studio to direct, which I think is a cool jump of faith for them. Or proof that they're really stupid. But I don't think so.

What I do as a director is really create a safe environment that everyone can feel very comfortable in and experiment within so that they don't hold back anything. You never ever want someone to go, 'Oh I shouldn't have done that.' There isn't anything you shouldn't try. If it's terrible, who cares?

Every director should take an acting class.

As a director, I really wanted to learn and I needed to get away from my own stuff to figure out how to just do things and work with good people.

I wanted to know as the director how the actors wanted to tell this story I wanted to know what they thought.

I don't want to infantilize the actor; I want to empower the actor. Actors can be many things, but all of the really good ones are really great storytellers, and I'm interested in that. If you're not interested in that as a director then you better be Stanley Kurbrick.

The film [Dream of Life] is the way it is because it was the rhythm of my life, and also because the director and the editor are both gifted and both fine human beings.

I stayed in Hamburg a few more days, and during that time I received a visit from Rolf Aldag, the sporting director at T-Mobile. He advised me to tell the truth.

When you have the Chief of Staff of the Republican National Committee and the political director of the Romney campaign, and their two companies get $150 million at the end of the campaign for the 'fantastic' get-out-the-vote program... some of this borders on RICO violations.

If a film is very clever and well-written, that's what gives you freedom as a director.

I think Jesse Eisenberg is such a great writer. He was a great director and really tough.

I wanted to be in film. I wanted to be a film student, possibly be a director or cinematographer, not an actor. That was my goal. I didn't believe I had the physical beauty that I'd seen projected and advertised in movies, in theater. It just wasn't for me.

Being a director is almost like being another sort of character, but you're out of view.

To learn bad dialogue is so difficult and so boring, and to work with a stupid director who tells you to do the wrong thing, etcetera, it's just unbearable.

The directors that I end up having a really good time with are the ones that understand the fluidity of the medium and are interested in catching lightning in a bottle.

f you're making the scene as a director, you're looking for alternatives, once you've got to that place that's very much in Rowan's [Atkins] head, to see if you can take it further, in some places. Sometimes you do absolutely know there's something there. You just feel it in your bones.

I guess the story that best defines us [with Bud Yorkin] and our relationship goes back to the [Dean] Martin and [Jerry] Lewis show. The four stage managers on that show became major TV creators and directors - John Rich, Jack Smight, Arthur Penn and Bud Yorkin.

I was rejected by casting directors during the day. I attended class in the evening, then rode 90 miles on the train home.

I was offered and accepted a part in 'A Few Best Men,' and then the Australian actor's union argued that there were too many British actors. And the director decided to lose me.