Quotes About Director

'The Lobster,' at some point, was my most accessible film. Then I made 'The Killing of a Sacred Deer,' which turned out to be not as accessible as 'The Lobster.' It was the film I wanted to make and the story I wanted to tell.

I had attraction to work with Ang Lee. I wanted to work with him.

Dhobi Ghat' is the only script I actually completed and that I was convinced about wanting to direct.

I miss that process of getting the script and reading it and working on it. Every actor has their own way of memorizing their lines, and the whole process of starting to work with the other actors and the director, and doing rehearsals, and going to the location, and going through wardrobe.

I think the grandfather of the set is the director. He needs to have authority, to do what people want. A warm grandfather; he needs to know his job, to be open.

When I decided to work with Krishna Vamsi, people around me were apprehensive about my decision. They warned me that I shouldn't work with an unsuccessful director.

I made 'Enemy' to prep myself for 'Prisoners.' I had the need to direct something smaller in English before going to Hollywood. That's the way I sold it to Warner because they asked me if I was berserk to make a movie right before.

As my other obligations are beginning to take an inordinate amount of time, I have asked to step down as WMG's board chairman, effective January 31, 2012. However, I will remain a director of the company and in that way, continue my association with Warner Music and its extraordinary people.

For years, Warner Bros. was trying to get me to make a movie about Howard Hughes.

The Almeida's artistic director, Rupert Goold, brought me Mike Bartlett's 'King Charles III' with the slightly apologetic warning that it was in blank verse, but, of course, that appealed to me.

It's a big deal when you have got to fire the deputy director of the FBI because he lies four times, twice under oath. It's also a big deal when you have got to reassign people off the Mueller probe, when you have got cash at the Democratic National Committee that is convertible into a warrant to spy on American citizens.

Sometime ago, I went for a film festival in San Francisco and that's where I met film director Warren Foster and actors Robert Parham and Randy Taylor, by chance.

Warren Beatty is a great director. I wish Warren would direct another film right now, because I'd love to do another film with Warren. I think that 'Dick Tracy' is an outstanding film in its own right.

Playing the greatest warrior in the seven kingdoms, that's absolutely no pressure. It didn't help, during the casting, the director kept saying, 'Remember, you're the most legendary swordsman ever.' I said, 'Great. I'll try and convey that in my four lines of dialogue.'

I'd worked in Clockwork Orange with Stanley Kubrick and since Stanley was such a prestigious director this opened all sorts of doors for me - one of them being Star Wars.

In Kurdistan, there's a lot of hardship - a lot of wars, a lot of bitter and difficult lifestyles. And witnessing all those made me a director.

I talk to all the creative directors today, and they take me aside, and they say, 'You know, it must have been great back in those days when you could do anything you wanted.' I say, 'Huh? Excuse me?' I mean, we fought. In the '60s and '70s, you fought wars with clients, and you have to continue fighting wars to do great work.

I haven't done the Star Wars kind of films.

I've always loved 'Bond.' There were two franchises that I would always have dropped everything to do as a director. 'Bond' was one; 'Star Wars' was other.

Nina Gold is a fantastic casting director. She's doing the new 'Star Wars' movies, but she also does 'Game of Thrones' and many of the Working Title movies, and she did 'Rush.'

I am a little wary of entering another situation where I would just be another director for hire and I've been doing this in one form or another since I was twenty-two doing documentaries for PBS and HBO.

In Hollywood, they make movies like they make washing machines. It's a business. In Europe, the films are considered art. No producer would ever tell a director where to cut a film or how to re-write the script. I love Hollywood, but all of the time I have to go back to Europe.

Conant was worried too. He believed that the Mafia, who maintained strong links to bathhouses in other cities, was behind the quick changes in the health director's thinking.

That's why I never became a director. I never had patience with people.