Directors Quotes - Page 63

Many of the museum directors who make an impact personally curate exhibitions.

I never aspired to be a television producer and a movie director, and I'm shocked that this idea is still going on.

Typically, among the audience members joining the actors, the director, Ann Ciccolella and myself, about half of these theater goers have read the novel [Anthem], and half have not read it. That is interesting.

In a career, when you hit 40 and you've done a lot of this and that, you want to try some new things. I feel like that as a director, too, from one film to the other.

I love those films where I feel the director's confidence - where he doesn't need to overdo it with the shots and the cuts.

Now at my age I understand how sad it must have been for some directors or actors at the time the talkies began. Because, really, a whole continent disappeared.

What I promise to my actors, and to my director, is to give them the salary and everything they need.

As an actor and director, you have to take risks, even though I don't like saying that word. You can make a mistake.

OSS 117 and maybe Un Balcon Sur La Mer directed by Nicole Garcia. It's a typical French movie with typical French themes with French actors, a French director.

In France, I have lots of opportunities. Maybe now I'll be offered films in America. It's the encounter, with the director and the story that counts.

In many cases for an actor it's a comfortable position to be in. But it's harder to fail as a director.

I'm not the kind of actor that gets crazy with [directors'] names, what draws me toward a project is the material itself.

You have to move really fast, as a director in television. If you're able to keep things moving on set, everybody has more fun, and when everybody has more fun, the end result is funnier.

I'd done table reads for my own screenplays, and I always thought they were so much fun. Why couldn't we do these for other classic screenplays and bring them to life? You can experience live theater, where you get to see plays produced by different directors and different casts, but there's really nothing like that for movie scripts.

Yeah, the actors really come in as lumps of clay. We're ready to work with the directors and find our way. These guys really come in having done their work.

As an actor, you only get to work 15 minutes an hour; as a director you're fully immersed. It's incredibly more complex and challenging and I love it. I'm sort of a glutton for work and to direct something that I'm acting in feeds the vein.

The thing about For Better or Worse is the only thing that made me an okay director for that is that I have a sense of humor, and it was supposed to be funny.

Occasionally I do movies with other directors. I did 'The Diving Bell and the Butterfly' for Julian Schnabel. I did a movie with Jim Brooks ('How Do You Know'). I did a movie with Judd Apatow ('Funny People'). So I do get a chance to work with other people, which is always enjoyable, always pleasant. But still, Steven [Spielberg] makes the types of movies that I'm interested in as well.

TV, it's a director's medium, and they wanna make it look interesting. To be rehearsing mostly for the sake of where you're standing so they can do the lighting, that's what I don't like.

A lot of the things that we've been able to do in the last several years were Democratic ideas, including the structure for this new director of national intelligence.

One of the wonderful things about being an actor is that every director is different.

There's no director who wants to portray cheese puffs with a certain color that's going to make or break the commercial, in his opinion. We don't have to do that, so I don't miss it at all, really.

I think women directors have to be really tenacious.

My advice to women directors is just to make the best work possible.

Blood City III: The Massacre. I'd read the summary of it online, and frankly, it sounded like the directors had just decided to film my life.