Quotes About Director

I've always felt, pound for pound, I'm one of the best guys around; but you get stuck in people's eyes in a certain way, and it takes an imaginative director who will look at you and realize you can play different kinds of parts because you are an actor.

I was, and am, a frustrated filmmaker and film student, and my passion and love for movies was so broad that, in the earlier part of my career, I stumbled into doing 'Sports Night' and was a comedy director.

My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.

As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things.

I met Milos in 1967. I was working on a student film. And there is Milos Forman. So that's how I met Milos.

A lot of student directors used to pick other students to be in their graduate films, so. I ended up doing a couple of them just for fun. Eventually, I got an agent through a friend and I did some commercials; then I got Knots Landing.

I don't think about the gender thing very much. But when I speak at schools, I've had female students say to me afterwards, "I never envisioned myself being a director, since I've never seen women do it." But after seeing me, they can picture themselves directing, so maybe we'll see more female directors.

I graduated from the American Film Institute in 2010, where I studied as a director, and came out with a few features I really wanted to make.

Even though I studied in New York and I know the American system, I come from France where I learned that with movies in France where the director is king. There's no such thing as a studio edit. It's the director's cut, period.

When I was in college, I studied business because I thought I wanted to be a director and producer.

I never went to school for directing. I studied theater with a director. I followed plays to see how a director would talk to the actors. I tried to make my own school.

There's a whole system in Hollywood where the director never speaks to the studio, but I like to engage them in a discussion. I listen.

I'll audition for something and then the feedback has been, 'The director wants you, the creative people want you, but the studio is saying no.' It's depressing, but I understand. People are investing a lot of money and they want somewhat of a guarantee; they want someone who's been on the cover of magazines.

I had a really good time working with Jim Cameron. A lot of people didn't, but I did as I got on with him really quite well. For a director who spends most of his time looking down a lens or in the digitisation studio or working out some graphics, he is actually very good with actors.

I still recall how nervous I was when I went for the recording of 'Guzarish'... When I reached the studio, all of them were there - Rahman, Aamir Khan, lyricist Prasoon Joshi and director A.R. Murugadoss.

I think that I learned a studio system prefers a sort of professionalism from the director.

But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.

In the studio the director controls the actor's every move, every inflection, every expression.

I'm doing a play at Trafalgar Studios with The Jamie Lloyd Company - 'The Maids' by Jean Genet with Uzo Aduba and Laura Charmichael, directed by Jamie Lloyd. It's one of my favourite plays by one of my favourite playwrights.

I really only worked for about a month on 'Meatballs.' What happened was that Ivan Reitman figured out that studios wanted to meet everybody involved with 'Animal House' except the producer. So he thought he'd better start directing.

You know, Im directing a documentary about the history of Abbey Road Studios at the moment, so Ive been taken back to those times. There is a photograph of me aged three months on one of the sofas in the studio, so I was there before I can remember being there.

I was at film school when I made 'Small Debts' and I was a cinematographer, so I didn't actually study to be a director.

I was studying music in college. I was singing, I was doing operas and Gilbert and Sullivan operettas, and then I was offered a job as the music director of the Bigfork Summer Playhouse, in Bigfork, Montana.

A good director is like a good coach. You want to play for him. You want to really show him your good stuff. You don't want to let that person down. Ridley Scott is one of those guys.