Quotes About Directors

We had many good directors - John Carpenter, Brian De Palma - but things have become polluted by business, money and bad relationships. The success of the horror genre has led to its downfall.

There is a host of directors - Sujoy Ghosh, Neeraj Pandey, Ashutosh Gowariker, Madhur Bhandarkar, Mani Ratnam and so on - who make some great cinema. I would like to work with them all.

I do not come from the industry. But I have realized that it's very important to work with senior directors and good production houses. It makes a lot of difference.

I made one contribution to a film about the 11th of September: there were 11 directors and everyone had a different take on that. Some I thought were valid and some less so, but there was a substantial point that knitted all the films together - a comment on the bombing of the World Trade Center - so there was something to get your teeth into.

Being a cinematographer taught me a lot. I got to expedite the visions of many directors and learned how to navigate many styles and worlds.

I am a fan of the Coen brothers. I'm not a fanatic. I'm a big admirer. They create unique worlds, and there is a real atmosphere to their films. Not everyone can get that. That's a massive part of their appeal: you can recognise them. Like all the great directors or artists, you know it when you see it.

Some directors can become concerned when it comes to music, because it's the end of the process and they're tired. They're worried that the music will intrude or waste something, that a composer will overwhelm the story.

I thought that Hollywood was just for geniuses and that directors come from three generations of directors. I was worried that I was not up to the challenge of making a movie. Then realized that all a director has to do is know what he wants to do.

If you are, as an actor, are just worried about looking pretty and being well liked, then I personally feel you are doing a disservice to your audience, the craft, the creative process, writers, and directors. Your job is to tell a story and to tell the truth, and we can't always be the most likeable character in every situation.

What worries me are these so-called radio stations with program directors who don't play all the different flavors of hip-hop. They should play the old with the new, 24/7, 365 days a year. A lot of these program directors are just jiving around and not playing all the good music for the people.

When I think back on it, of course I got lucky and got great directors and good breaks but all that was the physical part. But what made me a star was that I could take a chance and not have anything to worry about in terms of losing.

I struggle quite a lot in rehearsals, partly because I'm shy, partly because I still don't really understand the work that actors and directors do. I love the magic at the end, but the getting there - the wrong turns that are necessary to make something work - I find slightly beguiling and worrying.

I get stopped by people on the Upper West Side of Manhattan - actors, directors, people that I revere - who are closet conservatives who feel the same way but can't speak out. And they think I am fighting for them so they can come out of the closet eventually and express themselves without worrying about losing their jobs.

I mean, there are many other directors who are probably both more skilled and excited to adapt novels or work within certain genre conventions. I'd like to do that kind of work someday, but for better or worse I'm too drawn by my own material.

A script is utterly useless in and of itself; it's only of any worth the minute your actors, your designers, your directors come into being.

You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.

Having worked with so many directors, I liked the look of what they were doing. It seemed to be a lot more creatively satisfying, putting all the parts together, joining the puzzle together, creating the tone of a piece.

Tony Scott was one of the best directors I've ever worked with, and I was devastated when I heard about his death. He was a great guy with great energy. But this is a difficult business, and people's lives are sometimes difficult.

I grew up loving Ridley Scott and Tony Scott and Michael Bay and Adrian Lyne.

All directors are control freaks and very obsessive. I get the feeling that directors as kids, they all have had a childhood with not too much contact with other kids. They constructed their own reality and they continue to do it. It's a funny breed, directors.

I am tired of kissing on screen. I have to do it because it is synonymous with me. Also, the producers and directors want to add that element. I don't give it too much importance.

The director's who want to be innovative use the DVD as a tool to see what people have done in the past and you have other people who will actually take from better directors and that makes them better directors.

Shooting on the iPhone has become more of a directors' tool to lower inhibition of first-time actors and nonprofessionals. While it's helped me become more mobile, no pun intended - running around, finding tight areas and different ways of moving the camera - to me it's more about using this device to catch candid moments. That's the biggest thing.

The way a Dibakar Banerjee conceptualizes a film is different from a David Dhawan! I've worked with both, since as an actor I am just a tool in the director's hands.