Quotes About Director

Actors are the flowers of the film, of the set, and of the director. The term 'Flowers of the Screen' holds a deep meaning.

I'm all for art-house foreign directors - I think they make terrific films - and I'm also for the bigger budget movies. It just depends on what the character is, the director, the script.

It takes one heck of a lot of energy to be an actor-director - a rather terrifying prospect but a challenge I would definitely relish in the future, given the chance.

Asking the director of 'The Lord of the Rings' to read my novel was exactly as terrifying as you'd think. I came this close to not doing it because I was so embarrassed. But he was so gracious about it.

As an actor on a film, you have no control over the final product - your job is to make a director's vision come true. So, you need to have total faith in them and add your own creativity and opinions and energy, but you have to really give over responsibility, and sometimes that can feel terrifying.

Terry Gilliam is one of the greatest brains I ever met.

All I mean is, I'm not the kind of audience comedy directors want at a test screening because I seldom laugh, and if I do, it's not very loud. That doesn't mean I don't like the movie.

I don't watch the movies I make, so I haven't seen 'Footloose' since it came out. You see this young, hungry actor, it's pretty fun. I was the only one they screen tested. It was an attempt by the director and producer to talk the head of the studio into hiring me because they didn't want me.

This is not a tough job. You read a script. If you like the part and the money is OK, you do it. Then you remember your lines. You show up on time. You do what the director tells you to do. When you finish, you rest and then go on to the next part. That's it.

A film's success or failure is strictly on the director's shoulders.

Constant complaints were being made of incompetent attendants, and some dozen women did double duty, and then were blamed for breaking down. If any hospital director fancies this a good and economical arrangement, allow one used up nurse to tell him it isn't, and beg him to spare the sisterhood, who sometimes, in their sympathy, forget that they are mortal, and run the risk of being made immortal, sooner than is agreeable to their partial friends.

The ladder of success in Hollywood is usually a press agent, actor, director, producer, leading man; and you are a star if you sleep with each of them in that order. Crude, but true.

The director is the most overrated artist in the world. He is the only artist who, with no talent whatsoever, can be a success for 50 years without his lack of talent ever being discovered.

I was lucky to have my wife as the art director, and it turned out to be quite something - a great success. I'm very proud of it.

I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.

I'm frightened of my own movies.

Charles Talent Manx the Third at your service, my dear! CEO of Christmasland Enterprises, director of Christmasland Entertainment, president of fun! Also His Eminence, the King Shit of Turd Hill, although it doesn't say that on my card.

I couldn't be a cameraman or a designer or an actor - I have to be a director because I learned how to do that from my dad.

Don't let negative pictures play on the movie screen of your mind. You are the director and the audience. You are in charge. Take the remote control. Change the channel. If you let your imagination run wild, let it run wild in a positive direction.

My father worked for governments all his life as an engineer and public works director.

Working with Bernardo Bertolucci was one of the greatest highlights of my whole life. It was such an incredible opportunity for me.

The original Return of the Living Dead, I was attached to direct it, and I wrote the story. Production was delayed. In the meantime I went to London to do Lifeforce.

I spent four months in Prague in these blue rooms reacting to nothing and you basically place your faith in the hands of the director and the special effects co-coordinator and you keep your fingers crossed and hope that the creatures look really scary.

The director said there would be three decoys. Added to the real diamond, that makes four. One would stay behind at the museum. Three others would be sent in three different directions. One south with a young geologist. Another north with the chief of security. And one is here, in a field west of Versailles, inside the tool case of Daniel LeBlanc, principal locksmith for the Muséum National d'Histoire Naturelle. Three