Explore Quotes on Directors

A good script and a good brief from the director is enough to let me know what is expected of me.

I'm an actress who likes a strong, communicative director.

I was in Japan, and my assistant director had worked with Kurosawa. I used quite of number of Kurosawa's crew.

Good information architecture enables people to find and do what they came for. Great information architecture takes find out of the equation: the site behaves as the visitor expects. Poor or missing information architecture neuters content, design, and programming and devalues the site for its owners as well as the audience it was created to serve. It’s like a film with no director. The actors may be good, the sets may be lovely, but audiences will leave soon after the opening credits.

As a writer, you have control of the words you put on the page. But once that manuscript leaves your hand, you give control to the reader. As a director, you are limited by everything: weather, budget, and egos.

At the end of the two years that I was the director [of the Center for Reproductive and Sexual Health in Manhattan], we had done 60,000 abortions. [During my life] I myself, with my own hands, have done 5,000 abortions. I have supervised another 10,000 that residents have done under my direction. So I have 75,000 abortions in my life. Those are pretty good credentials to speak on the subject of abortion.

I hate to sound like Julie the cruise director but it's people that I think about all the time.

If it gets to the Supreme Court, I'll have the directors of every museum in the country as expert testimony that my work is legitimate art.

When your characters are really living they tell you what they do.

Continental directors, as opposed to British and American, tend to be somewhat high-handed in their approach.

Being a producer, I deal with a lot of different directors, and some of them would drive me insane with all the different histrionics, and the mystique that they carry.

It became very clear to the director that it would be foolish not to use our friendship. I had tried to talk to him about it because all the relationships in the film are so, not negative, but antagonistic. There's not a lot of love going around.

My background was art school, documentary director and surfer with a keen interest in thrilling acts of life threatening stupidity.

So I write melodies - thirty, forty, fifty - then I cast them off until I have just two or three. If only one is needed, I go see the director and ask him to decide.

I look at the stories that Spike Lee tells... Great stories. Great director, great storyteller.

What happens is things come to you - director, script - and if you respond to it, it's because it's tapping into some part of what's inside you, and different roles tap into different parts.

I don't have any particular excitement about working with any specific director or actor at this point.

I tend to project my father figure onto any director that I'm working with, or mother, if I'm working with a female, or it can be confused.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.

Arnold and Jamie Lee must have worked over the years with directors that did 50 takes, because I'd get like three takes or so and say, Ok, that's it, we're done.

You come up with a story line, you hire the writer, the director, the stars, the set designer.