Quotes About Director

Anybody can direct a picture once they know the fundamentals. Directing is not a mystery, it's not an art. The main thing about directing is: photograph the people's eyes.

I've learnt so much from every film and every director - a new perspective, a greater appreciation of the art.

I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.

I was an actor as a kid in Boston. Then I went to art school with Brice Marden, the Massachusetts College of Art. So the hybrid of being an actor and artist is a director.

To have a museum like the Museum of Modern Art in New York is to have power. I don't have any interest in being the director of an institution that has power.

When you're a freelance director, you are hired to create the art, and it kind of stops there.

You never really know what the director has got in his mind as far as the scene visually and art direction wise.

I graduated from high school with the art award and I had made a ton of short films, but it was before DVDs with director commentary.

I don't know a single collector or museum director who says: 'Oh, he's on a list, so I think I'll buy something of his.' The people who buy my art put a little more thought into it than that.

As the director of one of the agencies providing free mental health services says, the Audubon Society spends more time, care, and money counting birds than we do counting homeless people.

I mean, Tarantino is such a SHMUCK 90 percent of the time. But ten percent of the time, I've seen genius shining off the guy.

As director of the German Credit and Investment Corporation of New Jersey, he specialized in U.S. investments in Hitler-era Germany. After the war, Draper was to become U.S. economics chief in occupied Germany.

I think that Phil Kaufman is one of the best directors that I have come across.

There's been a slow death in a way. On the positive side, there are films getting into the Academy Awards that wouldn't have, but on the negative side, financiers are now dominant and making all the decisions. I can't count the ways a director's vision is compromised.

I've worked with Len Wiseman before, on the 'Underworld' series, in which I was a vampire. The first two of those were his first two films. And I admire him beyond measure. I think he's tremendous, as a man and as a director.

I think Van Sant is the most important American director we have. He takes the most risks. He's just pure to me.

At 21 years old, I found myself in Vancouver, and that's where I got the part for my first movie. I was sitting in a restaurant, and the director came up to me and asked me to read for his film. I really took it with a grain of salt. It was the creepiest casting situation, probably. It turned out that it wasn't.

It could be a great script but the director is not the right person for me to work for at this time. So there are a lot of elements that come into play and a lot of variables, but more than anything it's got to be a great script and a great character.

In my cranky old age, I actually prefer recording alone now, on 'The Simpsons,' for example, because I find that the director can just focus on what I'm doing and I can do a lot of variations. A lot of times, when I record with a group, I'll stay after class for another hour or two.

'A Perfect Place' is character-driven. The director for that wanted a couple of identifiable themes with a bunch of variations. That is what I did. The director for 'The Solitude of Prime Numbers' did not want that at all.

What I've learned is sometimes it's good not to have all the same actions and have all the same takes. The variety you provide gives the director later on in post-production the ability to construct a more interesting performance as he puts the movie together.

A little secret - I'm the child of a shrink. I am; my mom's a shrink, and my father's a lawyer. So believe me, I analyze and negotiate. That is a huge amount of the director's work, especially when you're working with people who - such a variety.

As a director you have to live and breathe that one story for 8 months completely. I like variety, if I write extensively I get a writer's block so I do something else to beat the boredom and then get back to something I've already done.

I was raised in New York City and raised in the New York City theater world. My father was a theater director and an acting teacher, and it was not uncommon for me to have long discussions about the method and what the various different processes were to finding a character and exploring character and realizing that character.