Quotes About Directors

Everything is entertainment; criticism is now entertainment and it seems that the French directors have woken up one day and suddenly realised that they were not backed up any more.

Some directors do recut their films, but I don't if I disagree, and what you suffer is a less passionate marketing campaign, less investment in the film at the other end, which is... fine. I get it.

I didn't have a lot of men to ask questions of when I was starting out. There were two female directors people suggested I talk to when I was starting out, and they were Nancy Meyers and Kathryn Bigelow.

I think a lot of directors over the years have cast me because they see something of another generation in me: you know, certain people look like they've come from the 19th century. Because I have classical background I suppose that is more suitable to patriarchal roles and easily infuses them.

It's not like every director in every movie is seeking me out by any means, there are a lot of things I'm not suited for, a lot of things I'm not interested in, and a lot of things that directors wouldn't be interested in me for.

I had been doing summer stock every summer while I was in college. We did a showcase, like most good conservatories do - monologues and things that agents and casting directors come to see. From that I got an agent.

I go where the material is, and I feel like I'm looking for really strong directors. That's the key ingredient. There are some directors I would move the sun and earth for, or stop the rotation of the planets, just to work with them.

Sundance is the only hand that feeds for women directors.

I've always worked with new directors. 'Pyar Koi Khel Nahin' with Sunny Deol, Anupam Kher's debut film 'Om Jai Jagdish,' and Niraj Vohra's 'Khiladi' were all first-time films.

A lot of film directors are quite scared of actors. They are a bit of a nightmare sometimes, but I like them. It looks like cunning, but you try to get extra things from them all the time, by stealth, by making them feel confident, so they trust you and you can push a bit.

Some of us are interested in directors, but really the vast majority of us are interested in actors. You experience the films through the actors, so they're all locked into your imagination in some kind of layer of fantasy or hatred or wherever they settle into your imagination.

His attitude was that in order to train his assistant directors it was worth sacrificing his own pictures. At least, that seems to me the only possible interpretation.

Besides these people there are many directors I revere as teachers: Shimazu Yasujir? (1897–1945), Yamanaka Sadao (1909–1938), Mizoguchi Kenji, Ozu Yasujir? and Naruse Mikio. When I think about these people, I want to raise my voice in that old song: "… thanks for our teacher's kindness, we have honored and revered.…" But none of them can hear me now.

Any composer needs opportunities, but now these chances are based on personal relationships, and not on talent alone. For that, you must keep calling directors and keep them happy. So, PR plays a major part now, more than talent or success.

On a lot of shows that I've done, we had the same directors, which was cool. But then, it's also great to do shows where the director changes every week, because you get to see all these different personalities and see what you like dealing with better, as an actor.

I think directors look at me because I am an energetic person with a strong personality and always like to make people laugh.

Many of the museum directors who make an impact personally curate exhibitions.

I think the perspective that small-town directors bring to films is very different.

I'm not as savvy and knowledgable about all of the directors that are out there, but as a person, I'm really open-minded and love meeting new people and watching the way directors film and their perspectives and following their lead.

Both Peter Chan and Wong Kar Wai are directors that I respect very much.

My respect for animators and animation directors has gone way, way up and it is just not something you can phone in.

If you were in the film industry at that time, you were always picked up by directors who were much older. You were whisked about and shown things. I did work very hard though.

I'm very picky about the kind of work that I do, and I'm fortunate to have been able to work with great directors and great actors who've helped me grow as an artist.

If you remain open to great directors who look like you, who know what they're doing and are making impactful films that are destroying these 'blockbuster films,' you can do okay, and everybody can get more of a piece of the pie. But you've got to be open and brave.