Quotes About Director

Egotism is not a good quality. It's not something to be admired or even tolerated. It wouldn't be tolerated in a field commander and it shouldn't be tolerated in a movie director.

I think they quite like me when I work because I'm one of the safer directors to back, because even if my films don't bring their costs in back home, once they're shown outside of India they manage to cover the costs.

I didn't really know what I wanted to do, and then I got this call from a casting director in Los Angeles. She remembered me from something years before, and she called my mom wanting me to audition for this thing.

As an actor, most of the time, you only have so much say in how, what and where things go. As a director, you really get to paint a bigger picture. You have many more brushes to use.

But that's not what an actor does. An actor finds things in the moment with a director and other actors that you don't have time to hand-draw or animate with a computer.

I'm reading Joe Eszterhas biography; it's fabulous. Every time he made a movie, he fought with the director or the producer over the ending.

Horror movies, man, the blood entails so much time. And horror movies are not fun; definitely not starting there as a director. Definitely not horror.

And people say it all the time: 'You're a celebrity.' No, I'm an actor. I'm a producer. I'm a director. I'm a toad. I'm roadkill. I'm anything but a celebrity.

In the acting game, you spend a long time fighting against what the director perceives you to be. And half the time the directors don't know.

A horrible script 99 percent of the time means a horrible movie. But if you start with a good script, odds are you're going to have a good movie.

I've written something and I would like to have my first film directed by the time I'm 30.

If a director takes the time to document - to step back to observe - I think it I more honest. Because it has to be the public that makes the conclusions and who, possibly, resolves the situation.

Sometimes what you lose in the time it takes to let an actor do something that you don't like as a director, you gain in not shutting them down creatively by telling them their idea sucks.

I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.

[Valley of Violence] was written for James Ransone. PJ's a friend of mine, I've known him for a long time, he's always like, "Dude, when are we going to make a movie together?" I finally called him.

I love working with actors. If you cast the right person in the right part at the right time, they make you look like a better writer and director than you really are.

It just so happened that J.C.[Chandor] was a first-time feature director, and his script was exactly the kind of thing we were looking for.

It has never ever been a bad thing in Hollywood to be sleeping with a director who's just won an Oscar or the hot new movie star whose face is on the cover of 'Time' magazine.

As an actor, when you walk into a room to audition, you get five minutes with a casting director, who doesn't even look at you, most of the time.

I have only one rule in acting--trust the director, and give him heart and soul.

A director standing by his film rejected by the audience is like him telling a girl 'I love myself and I don't care if you don't love me'.

provenance." The judge coughs and examines his notes. Paul murmurs to the woman director

Enough of this. Does every conversation with you have to be the director's cut? Get out of the car.

When it's still—when it's the cellar of a house, or a ring of mushrooms in a forest or a gun emplacement outside Offenburg—it's called one of two things. If it remains static and unchanging then we call it a despair. If it seeks to extend its influence then it is a malignancy. Or as the Director puts it—a despair will suck you in, but a malignancy is coming to get you.