Directors Quotes - Page 53

The main problem is that the Hollywood system has already made the film before the director shoots a single frame.

There are plenty of bad actors and there are plenty of bad directors. There are actors who will always be bad and there are good actors who you cry for because they're being badly directed or the material isn't good enough.

You always have to speak good about the projects you do and you have to see the beauty in them. Sometimes you see them and you're happy with things, or maybe the process was nice and you enjoyed it, and you were happy with that. But when everything gathers - you liked the scripts from the very beginning, the directors, your friends - but then you see the result and you like it - it's beautiful.

If I really want to do something, I'll go in and do whatever the director feels that he needs me to do.

You see these actor/director relationships in the celebrity world and you understand why. The director knows which buttons to push and it makes it so much more familiarized.

It's only human and natural that an actor should see the film in terms of his own part, but I, as a director, have to see the film as a whole. He must therefore collaborate selflessly, totally.

Favourite directors change, like favorite authors. I had a passion for Gide and Stein and Faulkner. But now they're no use to me anymore. I've assimilated them - so, enough, they are a closed chapter. This also applies to film directors.

Ingmar Bergman is a long way from me, but I admire him. He, too, concentrates a great deal on individuals; and although the individual is what interests him most, we are very far apart. His individuals are very different from mine; his problems are different from mine - but he's a great director. So is Fellini, for that matter.

But I don't think of myself as a foreigner or a Frenchman! I just think of myself as a director. Whether I'm French or Australian or whatever, it's really not important.

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.

When you look at the early-'30s movies, like King Kong, the codes of acting are very similar to those of silent movies. In some of the silent movies - the good ones, the ones done by the best directors - the acting is very, very natural

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'm just saying to everyone. The director does not direct the trailer. It's an edited version that takes so many moments of the movie, sometimes it's not even in the movie. The director does the movie. So don't judge the director based on the trailer. Please.

I worked on three independent movies in close succession and I really learned from those directors how to stay on budget, make your days, get it done, keep everyone happy, which is a huge thing in a movie, and to steer the ship.

I was thinking what an interesting concept it is to eliminate the writer from the artistic process. If we can just get rid of these actors and directors, maybe we got something here.

Any director will tell you, no matter how big his budget, that it's always the budget and the day count.

We knew, very early on, that we had to be very, very clear that directors need to speak to actors and actresses and be very clear about what is expected, and find out whether they're comfortable with that. Wardrobe has to be in place. There have to be checks.

Some directors are very free and some directors are very specific. It seemed like doing a play.

The first-time director thing is just another label somebody puts on you.

Television can become a bit of a treadmill for directors. You come in, nobody knows you, the actors are already doing what they're doing, and you're just one of a number of directors who comes in.

Awards are important for all directors because they improve your working conditions. You're only as good as your last film, so if you get prizes or large audiences, then you get more money for your next film.

I think of myself as a problem-solver. I want to go in and help the director and the writer to get the best they can out of the text they're working with.

David Boreanaz is actually a very good director and he directed one of our episodes. Excellent director, knew exactly what he wanted. We never had long days with David. He was great, he knew exactly what he wanted and he's a fantastic director.

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.

All I wanted to do was be a professional film director with a body of work, and you're going to make some good films, some bad and some indifferent. You don't set out to make a dog, you set out to make something good. But I like them all.