Quotes About Directors

The work is the work. The work is not me. I like the anonymity that directors can have about their films. Even though it's my voice, I'm a storyteller.

My sense is, I think it's okay for directors to do movies that speak to other work in their career.

What always made me proud - almost blushing with pride - is that Francis Coppola, Martin Scorsese, Steven Spielberg all told me that 'The Conformist' is their first modern influence.

I can't impress people with the pedigree of obscure French filmmakers that got me into film. It was Robert Zemeckis and Steven Spielberg. I really thought I wanted to make dumb action movies.

I've worked with Steven Spielberg three times. I'm proud to say that I'm one of those actors that continues to get hired by the same directors.

I enjoy the medium of film, and I think I understand it well, and I like working with directors, so yeah, I think I'll stick with this.

Nobody makes movies like Oliver Stone.

Rituparno Ghosh and Bharathirajaa are two directors who were born to direct.They can make even a stone act.

I've always really respected directors. As much as I was interested in acting, whenever I watched a film, it was always the directing that really stood out to me.

It's interesting - I always thought when I was doing more melodramatic stuff like 'Everwood' that the directors were constantly reeling me in and stopping me from being funny.

I don't think I can speak of the achievements of Indian cinema because it's so large next to me. It's not stopping. It's ever-growing. We are going towards the right direction. We are evolving as a filmmaking industry as actors, directors, producers, singers, musicians. Everybody just pushing the boundaries.

The kind of stories I like often comes from debutant directors.

For a long time, I bought into the idea that if you are a woman who is a storyteller and a lover of movies, then the best way to express that is as an actress. Obviously, there are women my age who are directors who didn't buy into that idea, but I did - and now I've broken that down inside myself.

I've read a hundred fantastic scripts that didn't pan out as films, and I completely put that on the directors. I've also read some mediocre scripts that have ended up being amazing, and I credit that to the directors. They're the storytellers. If you don't have a good storyteller, you really have nothing.

We want to make the best television possible. We should be drawing on the entire available pool of storytellers and directors, and we should be expanding that pool and trying to hire the very, very, very best people. That's our job.

European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films.

I want to work with great directors and tell great stories - storytelling is the one great love of my life, and it means so much, and we have the ability to change the world by telling stories, and I want to keep doing that.

My education - my Ph.D. in storytelling - comes from having worked on it, being a lover of film and watching them, from working with some great writers and some very good TV directors and then working with some who weren't.

I get very excited by these hoity-toity directors with their bells and whistles, but I find simple storytelling done really well just as exciting.

I think more than comedy, probably more than straight drama, I like horror. And horror I think I'm particularly good at. It's a mistake a lot of directors make, especially young directors. They always want to make the kind of movies that they most admire and aren't necessarily sensitive to what they have the best skill set for.

It is strange, but directors have always shown more confidence in my abilities than I've in myself.

If Martin Scorsese calls, I am available. And then there the ones, well, you can just run down the list - any of those Oscar-nominated films, they have amazing directors across the board.

Authoritarians need obedient civil servants, and concentration camp directors seek businessmen interested in cheap labor.

As you're growing up, it's odd, because directors don't expect you to grow up. They think you'll be young forever, but as an actor, there is an awkward period when you're too young for old or too old for young, and it can be an odd time.