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Cast PURPOSE as the lead in your movie and you will help God, your Director, produce a masterwork.

If you’ve ever wondered why some writers who, in your humble opinion, don’t write as well as you do yet are rich and famous while you struggle onward, this is the reason. They are great directors.

I'm communicating with the directors of the Soviet companies, and I see that it is wrong, but when I go to the official discussions, they discuss we should change the color of the walls.

You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.

In this land of unlimited opportunity, a place where, to paraphrase Woody Allen, any man or woman can realize greatness as a patient or as a doctor, we have only one commercial American filmmaker who consistently speaks with his own voice. That is Woody Allen, gag writer, musician, humorist, philosopher, playwright, stand-up comic, film star, film writer and film director.

One thing I know is that I don't want to be a director for hire, making genre films.

History has a way of coming back to you. In the case of Janis Joplin appearing at the festival in 1968, her performance affected the life of a Bostonian who is now a member of the Newport Festivals Foundation Board of Directors. Ward Mooney was so affected and emotionally involved in Janis’ performance at Newport, that when he heard the festival was going nonprofit, he knew wanted to become a part. Janis was beautiful, gracious and respectful, and the power of her Newport performance continues to live on.

Any good movie is filled with secrets. If a director doesn't leave anything unsaid, it's a lousy picture. If a picture's unsaid, it's a lousy picture. If a picture is good, it's mysterious, with things unsaid.

Whether you're a cameraman or a director, you should ask yourself every now and then, 'What am I trying to do?' Be honest and keep things very simple.

I've worked with a lot of directors, some of them you wouldn't really attach the word 'artist' to their name.

Personally Im very happy to be behind the scenes. I like collaboration, I like working with directors.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

Secure writers don't sell first drafts. They patiently rewrite until the script is as director-ready, as actor-ready as possible. Unfinished work invites tampering, while polished, mature work seals its integrity.

I strongly agree that a National Intelligence Director should be established to oversee and coordinate the 15 federal intelligence agencies.

But the audience is right. They're always, always right. You hear directors complain that the advertising was lousy, the distribution is no good, the date was wrong to open the film. I don't believe that. The audience is never wrong. Never.

During 'Chicago Hope,' I never let directors talk to me, because I was so spoiled. I started off with people like Milos Forman, Sidney Lumet, James Lapine, unbelievably gifted people. So there I was saying, 'Don't talk to me, I don't want your opinion.' I behaved abominably.

I'm on the board of directors for Peace Now, which works tirelessly between the Palestinians and the Israelis to create peace in the Middle East and we've never been closer.

Bad directors will tell you they absolutely know how to do it, and how it has to happen; there's this insecurity that leads them to feeling like they have to control everything.

That business aspect of the media, that Charlotte Street world, the advertising and programme executives, it leaves me absolutely cold. I'm supposed to be the director of a television company, but I've only ever seen that company as a vehicle for making the kind of programmes we wanted to make, getting our ideas on the screen.

Good is the director who lets you do what you have to do.

When I was young, I believed in three things: Marxism, the redemptive power of cinema, and dynamite. Now I just believe in dynamite.

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