Quotes About Director

I had Steven Spielberg on my radio show.

There are definitely reasons to do certain things, but I like to stick to good director, good actor, good script.

I always try to stick to the script because I want to respect the writers, and I want to respect the director. But if the director and my fellow actors are okay with me playing with it a little bit, then I definitely want to play with it.

Sometimes I think being an actor is like being a dog for a director; it's like they throw a stick, and you want to fetch it and bring it back to them. You want a pat on the head for it.

With Hitchcock, you work with a script, and you stick to it.

Sharing the same vision for what's on the page is always a good idea. The director's job is to establish what that is and make sure that everyone sticks to it when it comes down to actually executing it. Establishing what the vision is and being able to stick to it is the job, and everyone should be on the same page going in.

I'm a director because I directed a movie. And if I have any advice for people, it's, 'Go write something; go direct it. If that's what you have a desire to do, go do it. If the movie stinks, just put it on the shelf and try to do it again.'

Acting in itself is changing. This change is because of the advent of the casting director. Earlier, there would be stock characters, who would be seen in every film. Now, casting directors are bringing fresh faces.

Actors too need directors who can fire their imagination. The fire needs to be stoked.

I've always found it strange that a director can hire any designer he wants from any country. But if he hires a foreign actor, it's like he's stolen the crown jewels and run across the river with them.

I'm probably one of the worst actors as far as preparation goes, because I actually don't prepare. I find it easier to read the script and whatever hits me in my stomach, like deep down, I just go with it. And the director kind of molds me whether to go right or left with it.

When I drove up on the set one day, and they'd put up a sign that says 'The Bill Engvall Show,' I stood there for 20 minutes just staring at it. The director, James Widdoes, came up and said, 'What are you doing?' And I said, 'Look at this! There's my name on a stage door in Hollywood!'

As a director, you need the Saul Zaentz type of producers. Zaentz was a guy who literally capped the storm outside of the director so that they could do their job. That's a great producer.

I really don't storyboard unless it's an action sequence of some kind, but I plan carefully.

A director should concentrate on his storyline and his characters.

When it comes to 'Ala Modalaindi,' I was impressed with the storyline narrated by Nandini, the director of the film.

I'm a director's actor; I'm a storyteller's actor.

I'm a storyteller - that's the chief function of a director. And they're moving pictures, let's make 'em move!

I owe my whole career as a storyteller to my father. He was an actor/director/producer and teacher.

My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.

Hitchcock had a very strange mind.

I have only recently got interested in film, and it is a strange way of working in many ways. But actually, when it is at its best, it's quite an extraordinary way of working between a director and an actor, to really explore an inner life.