Quotes About Directors

There's a lot of great, talented, passionate musical theatre practitioners and directors here. But it's very hard to suddenly start building great musicals in a town like Sydney where there hasn't been any great musicals built.

In a time when directors did not fear composers with a strong voice, Morricone wrote scores like operas or symphonies, with passion, scope, bravura and intelligence.

The capitalist organization of production must now be dissolved. Workers must become their own directors, receiving and distributing the surpluses they produce. They must become the collective decision-makers in productive enterprises, no longer the directed wage and salary receivers.

Musicians ought to reclaim some of the power in the houses of production. The opera houses are run either by managers or by stage directors, never by musicians.

I felt that if there wasn't going to be a good opportunity, then I would just go back to second units which I love, keep working with great directors, keep learning and knowing that the opportunity would come when the time was right.

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

Yeah, I've worked with a couple of female directors, now, and I think that they're amazing. As good or better than guy directors.

I've had a weakness for Bengali directors, be it Rituparno Ghosh, Aparna Sen, or Goutam Ghose, because of their sensitivity towards cinema.

All directors have their strengths and weaknesses, as all actors have, and all artists. What you try to do is complete the relationship and take care of the stuff that the director won't take care of.

I don't know what it is, exactly, but there's a negative drag on film sets after the second week or so, a mutinous vibe because the infinite capacities of the directors and everybody else become quite finite and everybody's under the gun and it becomes work.

The thing about TV is that it's great work for directors because the responsibility is not ours at all. In a movie, you choose a movie, and everybody points his or her finger at you afterward. It doesn't matter how much influence you had on the script, how much decision you had, or the fact that you didn't have final cut.

I had grown up thinking of movies as something to eat popcorn with. Bergman and the other European directors were the first ones to open my eyes to film as art.

I can talk endlessly about characters, or why someone did this or that, and what that dynamic and interaction is. I really love it, and I think that actors really respond positively to the fact that I like to talk about that stuff, because I'm not sure that all directors do.

I really just want to work with good directors and learn as much as I possibly can.

The thing is this: I've got an amazing career in England that couldn't possibly get much better. I do the best theater around, I work at the National Theater, the Old Vic - which I'm sure you've heard of because it's the one Kevin Spacey runs - and I play the most amazing roles and work with the most amazing directors.

I think the three Mexican directors that came before me did a very good job in Hollywood because they came in and started directing things like 'Harry Potter.'

There are things that directors know about me that people shouldn't know. But everyone's really different. I've worked with women who I've never wanted to tell anything about myself to, and I've worked with guys who have been pouring wells of emotion. So emotional availability is not a gender-specific thing.

Even if you come up with a conventional script, directors face several issues in convincing people to get on board.

I'll put it this way: with the kind of films that I do - creatively driven, with interesting directors and writers - I don't feel the need to work with the super established, top-tier directors that are out there.

Directors didn't want to work with me because I was 'too controlling.' If it had been a man, it wouldn't have meant a damn thing.

Systems, coaches, and directors or club presidents do not win games - players do, they are the only people who can make a significant difference once that game starts.

Many casting directors won't hire aspiring actors because you might be burning some chick's headshot under the table so she doesn't get the part.

I'd done table reads for my own screenplays, and I always thought they were so much fun. Why couldn't we do these for other classic screenplays and bring them to life? You can experience live theater, where you get to see plays produced by different directors and different casts, but there's really nothing like that for movie scripts.

Some directors don't get involved in the cinematography and are just about story, but I'm definitely more tactile than that in terms of my involvement in the minutiae.