Directors Quotes - Page 76

We had a work session [in "Moneyball"] where about 30 scouts came in and we're all riffing. And after it, [director] Bennett Miller said: Look at these faces and this is what we have to got to do. We got to get these guys in the scene.

I am not interested in simply working as a director. If I am not making movies that I want to make, that I feel passionate about, or that I feel are hopefully at the level of cinematic quality that I feel they should be then I am not really that interested.

There are all kinds of directors I want to work with and all kinds of films that I want to do.

I auditioned for Ted Bundy and the director Matthew Bright and we really hit it off. He cast me as Bundy's girlfriend.

I love the Japanese director Shohei Imamura. His masterpiece in 1979 called, the English title was 'Vengeance is Mine'.

For me, a director is a director immaterial of the gender. At the end of the day, the audience is only interested in watching a good film.

When you trust your director completely, then you can relax, be spontaneous, be malleable.

It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.

When you're a director, for two years or at least a year and a half, that's what your life is. So if you're gonna do it, you gotta be ready to do it and it has to be something you care about. I've found something that I do care about.

I used to put that I studied with Stella Adler on my resume. I never met Stella Adler. But if you told a casting director you studied with Stella Adler all the sudden they'd let you in the door.

I'm not really a full-time director, I just like to direct the things that I write because I think I'm going to know it better than someone else.

I'm not really a guy who wants to be a director, anyway.

I'm not sure that I'm really relevant as a director anymore. Or as a writer, either, to tell you the truth.

All the actors I've worked with as a director over the years I really love and I thought they were all right for the part.

We do have American Idiot picked up by HBO and I wrote the record and concept to it. [We have] the writer Rolin Jones and [director] Michael Mayer [who also directed the Broadway production], so we'll see what happens.

I knew that's where I was going. I knew we were going to Italy. You couldn't make this movie in America at this price. I knew it was going to be big. I knew there was going to be a ship involved and that there was going to be a set as big as the ship. I thought, well, here we go. But I knew that was where he was headed. He had been going this way for some time. All directors, once they have some success, they want to spend a whole heck of a lot of money. (Something else can't hear.)

But you really - I always think that a director has got to adapt to whatever the needs of the actor are. You know, so if you take someone like Eddie Murphy, who is not a big fan of rehearsal. You know he comes out of stand-up. He comes - it's all about capturing the moment - in the moment, you know.

If you look at the types of directors out there, I'm not as weird as most of them.

I operate the camera, I always do it when I'm the director, and I like to approach it as a documentary, finding the images based on what happens, as it happens.

There are some directors, lesser in confidence or skill, who make the actor feel very uncomfortable because you feel you're auditioning for them, every day, and that's a terrible feeling on the set.

I discovered early in my movie work that a movies never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.

I think a lot of good directors listen to music while they're working. The songs just don't become a part of the film. They're replaced.

(As) a director who is a writer, I have respect for writers, so I'm less likely to step on an idea or a line.

My big break was becoming the spokesperson for Texas Instruments. Casting directors really started giving me a chance to read for projects.

[Fifty Shades Darker director] James Foley directed Fear. And that's what I love about this film, because it has a real sexy thriller element about it.