Quotes About Director

I did this one movie with a great director named Wayne Kramer. It was 'Crossing Over,' and Harrison Ford, Ashley Judd and Ray Liotta were in it. I was one of the leads, and I thought this was it. It got shelved for two years, and then it was in theaters maybe a week. After that, I adopted a philosophy of, 'Hope for the best, expect the worst.'

If you create a movie that is only character driven, with a weak plot, then you - as a director, you have to make sure you keep pushing the tempo.

'Oppam' is more of a director's movie, especially because I play a visually-challenged hero in it. The character doesn't have a perspective, and so cameras aren't placed like how they are usually done in other movies. The angles and the way the scenes are captured are different.

I wanted to be a director and comedian and my plan was to go to NYU. I wanted to be in UCB.

Altman works in such an interesting way, letting things occur in the film even if he didn't particularly plan them.

My normal way of filming something is, like, one camera, very well planned out, knowing exactly how we're going to get each shot.

When you have the cast, the sets, the lights, an opera takes on its own life. I'm not one of those directors who marches in with a set of plans.

I had no plans to be a director.

The intention behind the high difficulty of the games I direct is to evoke a feeling of joy and accomplishment in the player when they overcome these challenges.

I like a director who is very observant and is watching what I'm doing and noticing what I'm doing but is giving me time to figure it out. They don't jump right in and give you a note before you've had time to really search on your own with how to do a scene. I like a director that encourages me to be playful.

David Mamet we all know is a great screenplay writer and playwright and a great director. If you like him, you like him. If you hate him, you really hate him. He's someone who's into controversy, you know what I mean? That's David Mamet.

You always want to please your choreographer, director. Dancers are just that way.

I write music to please myself. Hopefully the director's enjoying it too.

I think when you have some success as a kid, your notion of being a good actor is pleasing the director, doing exactly what they tell you to do.

In 2011, I negotiated to sell a plot that I owned near the airport to RKW Developers whose director was Dheeraj Wadhawan.

I always try to approach a film from the point of view of the director.

What I look for in a director is a strong point of view, a clear vision, and an ability to multitask and make decisions on the fly.

A film is a film and it has to be good to be inspired. That's number one. It can be Italian, French, German, American. It's moving images in front of you and with a strong director who injects his point of view and artistry.

From the director's point of view, it's infinitely easier to do violence than to do a good dramatic scene.

As an actor, you have to believe in the point of view of a director; as a director, you have to be able to express what your point of view is and invite everybody to join you on that journey. So it's always about opening up.

I will argue my points; I will have my opinions. But at the end of the day, it's the director's choice.

As the director, you are the organiser who has to have all the answers. You are the person with maximum clarity.

If the director has clarity of thought and vision, you are bound to just go ahead and do what he wants to do. I respect that.

Classics stay alive because a great actor or a great director wants to do them.