Quotes About Director

Without this ability to stand outside your experience, without self-awareness, you would have little ability to moderate and direct your behavior moment to moment. Such real-time, goal-directed modulation of behavior is the key to acting as a mature adult. You need this capacity to free yourself from the automatic flow of experience, and to choose where to direct your attention. Without a director you are a mere automaton, driven by greed, fear, or habit.

Then, as the warm winds of May turned into an even warmer June, I started to write my private list of Poirot's habits and character. I called it my 'dossier of characteristics'. It ended up five pages long and detailed ninety-three different aspects of his life. I have the list to this day – in fact, I carried it around on the set with me throughout all my years as Poirot, just as I gave a copy to every director I worked with on a Poirot film.

Each of us get to choose the movie of our life. Not only that, but we're the main character, the director, and the producer. We get to choose how we want it to be.From the Soul of Uncertainty

This was the ethos of the intelligence analysis directorate during most of the 27 years I spent there.

A lot of the things that we've been able to do in the last several years were Democratic ideas, including the structure for this new director of national intelligence.

I could spend whole days at Cinecittà. There, I am the greatest director of all time. On the town side, I reshoot the close-ups for Touch of Evil. Down at the beach, I rework the dolly shots for Stagecoach, and offshore I re-create the storm rocking the smugglers of Moonfleet.

It was important therefore to avoid themes that were difficult or too intellectual, not to shock the spectator's morals by overly bold ideas, and to respect a complex code of conventions that every author, producer and director had to be familiar with, under threat of seeing himself lambasted by the countless leagues in defence of morality – or still worse, confronted by a public boycott.

I am a typed director. If I made Cinderella, the audience would immediately be looking for a body in the coach.

When an actor comes to me and wants to discuss his character, I say, 'It's in the script.' If he says, 'But what's my motivation, ' I say, 'Your salary.'

In feature films the director is God; in documentary films God is the director.

I'm a typed director. If I made Cinderella, the audience would immediately be looking for a body in the coach.

People who know your work and know your personality, they know your strengths and weaknesses. A director like Guillermo del Toro, he knows more about me than I do. I trust him when he tells me what part I'm going to be playing in something, because he's envisioned that that can only be done by me. He knows it.

I would be a terrible director, I could never write anything. One of my great strengths is that I know all of my weaknesses.

Your own barometer is all you have to go by, and often what makes a good director is knowing when not to say something. On occasions you can find yourself on a film set where the person who is wearing the director's hat is only trying to justify his position.

Actors' performances in films are enhanced in a million different ways, down to the choice of camera shot by the director - whether it's in slow motion or whether it's quick cut - or... the choice of music behind the close-up or the costume that you're wearing or the makeup.

I must say that Dhanush wears the hat of director and actor pretty seamlessly.

After reading the script I ask the director about my character's background, what does he do, how he walks, talks, what clothes he wears... I ask the director how he is looking at it.

As a writer, you have control of the words you put on the page. But once that manuscript leaves your hand, you give control to the reader. As a director, you are limited by everything: weather, budget, and egos.

When you make a movie, you do it so piecemeal. You're doing it, not only scene by scene, out of order, but shot by shot, line by line. And there's this idea that the director has the whole thing in his or her head and they're going to somehow weave it all together in the end.

The process of making a movie has expanded in terms of effort and time for the director, doing commentaries for the DVD for example, finishing deleted scenes so they could be on the DVD, and doing things like a web blog.

I'm going to do a sequel to 'The Girl with the Dragon Tattoo' and this one is called 'The Girl in the Spider's Web', which is an American production. It's a clean slate: new cast, new director and everything and they're skipping from book one to book four.

I wanted to find a way to merge my taste as an art and creative director with my new little obsessions: babies and motherhood and all of that. So I began working on my website, Romy and the Bunnies, which is named after my daughter, Romy.

The Red Wedding was, for myself as a director doing this, such a mammoth experience.

Salaam Bombay' and 'Monsoon Wedding' are the two Mira Nair films I go back to.