Quotes About Director

I think Spielberg is a master. I think 'Jaws' invented a genre.

I was with the CIA for only three years. I worked in the Directorate of Operations, which is now called the National Clandestine Service. It's the part of the organization where the spies live. I didn't have much experience beyond the training.

I knew Spike Jonze would do something really interesting with it.

I love Spike Jonze. He's brilliant.

Spike Lee is not the first name you would probably think about redoing 'Oldboy.'

Sometimes I've done small parts, like with Spike Lee, but it doesn't matter because you want to work with the director.

Part of the advantage, and part of the result of trying to be a producer and director, are the practical things, you find. It's so advantageous to go to a place that you already have a feel for, a literal and spiritual familiarity.

Once you start getting big roles as an actor, everything pays. So what are you making decisions on? It's about the director or the script or whatever. But before you reach that point, you're taking jobs with, say, a theater company, in spite of the fact that it's not paying your bills.

Historically the director has been the key creative element in a film and we must maintain that. We must protect that, in spite of the fact that there is new technology that's continually trying to erode that.

I did my first film with Francis Ford Copploa, which spoiled the hell out of me.

I've been sort of spoiled on the TV end because HBO feels like a small institution making independent movies. There's respect for the director's contribution in a way that mainstream television doesn't really reflect, I don't think.

You get spoiled as a novelist because you get to be the director and the editor, and you play all the parts, but as a screenwriter, you are a bit down the ladder.

We [Elbow] have had some luck with media syncs in film and on TV. We'd love to do a soundtrack with a really cool director.

The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.

The mastermind, the man with the plan

In movies, SF dominates utterly: by my count, 57 of the top 100 movies of all time, and nine of the top ten. The only top ten film that isn't SF is Titanic, made by a director who cut his teeth making SF films.

Zula sat back in her chair and looked out the window. The outcome had never really been in doubt. But being the director of a foundation had taught her a few things. One: much of what she did for a living was symbolic. But two: just because it was symbolic didn't mean it wasn't important. She had to put on at least a performance of thinking about it.

Director of any film is very important, and an actor has to leave himself in his hands to mould.

Every actor has his or her own style, so it is the duty of the director to mould it the way they want.

The main thing as a director, you always want to have a bit of a worry about the material you're going to get yourself into. You want to be a bit scared of it so that you have that excitement of having to climb the mountain.

When I grew up, a director was Cecil B DeMille, a guy sitting down with a megaphone speaking. He was the voice of God, the image of God. When I went to start making docs, I quickly turned the megaphone to my ear not to my mouth. It's more about funneling in the words and listening as doc filmmaker.

I work for the director, and if audience are happy, I have gotten my award. After that, I have to move on.

I've worked with directors who have done it too much, particularly in television, you know, 'okay we got it, let's move on, next setup.' 'Well what about, we could maybe investigate?' 'Mmm... no, let's go.'

Hitchcock loved long convoluted shots that contained a lot of tracking and camera moves.