Directors Quotes - Page 64

I'd been on all the television programs as an actor, as a writer, as a director, as a producer.

There was a great director who directed a picture that I wrote who barred me from the set quite appropriately and said, "I'm sorry, Jim. When you're directing, you don't need to know everything. You need the illusion that you do." And, you know, and I WOULD be there behind him trying to signal the actors in, you know, in a way I wasn't even aware of.

It's great working with directors and with somebody else's vision.

A director on a film really sets the tone of how people go about things, so everybody is happy to be at work and everybody does their best.

Working with Joe [Kosinski], definitely. I loved working with Joe. For a guy who doesn't really come from the fiction world - he comes from advertising and architecture - he's extremely easy-going and very calm. He's extremely detailed, but a very generous and fun director to work with. He really encouraged me to find the fun in the part and to have fun with it.

I do not know if it is true that all actors want to direct and all directors want to act, but in 1972 I tried directing and decided I had better stick to acting.

I prefer to have playback, but sometimes, you can't have that under most circumstances. First, it is expensive because you need a playback operator and secondly, it threatens a lot of directors. I only watch my performance. I see what is necessary for me so that I can see it right at the moment and I can fix it. That appeals to me a great deal.

I started out with this dream of being a director and doing cinematography and bought my first film camera at 15.

I almost became a music major, but somehow I was so enthralled with the camera and becoming a director that I stuck with film school and theatrics.

I don't have an interest in being a director-for-hire on sitcoms - but if it's a really cool show that I thought I could bring something to, I would love to do that.

I prefer to work with first-time directors.

I like the conscious manipulation that a great director can have. When you're both complicit in the manipulation of an emotion.

I knew that I always wanted to be a filmmaker, an actor, a writer and a director, that was always my plan.

I guess I like a lot of directors. Or at least I try to.

You can't rely on the approval of others. I used to always look for praise from my directors to reassure myself that I was doing a good job. I don't do that anymore.

If the director of the department doesn't even know what the privacy policy is, we are in trouble.

I believe I am a better director than actor. I enjoy acting if the part is right. Directing comes very naturally to me. I enjoy it. I am very confident in my work.

As an actor, I want to give in to the collaboration with the director because I don't want my work to be all the same. The more this can be done with comfort, the more variety my work has had.

As a means of supporting experiential element in film, once I begin to work on a particular movie I consider myself to be the tool of the director.

You can only have one voice on set, and that has to be the director.

As a director/writer/producer, all you ever want is to work with actors who make you look better, who make the work you do seem as good as it can be and even better than it is.

The hardest thing for everyone, for the writer, for the director and certainly for the actors, is not to panic when they're doing a certain line for the tenth time because everything ceases to be funny after it's been repeated.

The real trick for me as a director is to make sure that people don't start pushing because the harder you push as a perform the less funny it becomes.

I have a side of me that doesn't care. I really enjoy physical comedy, thinking of an idea and pitching it to the director.

I still write. I'd love to write more trashy chick-lit. At the moment, I just re-write my own lines, which probably annoys most directors - though, thankfully not Adam Brooks!