Quotes About Director

The film of tomorrow will resemble the person who made it, and the number of spectators will be proportional to the number of friends the director has.

Justin Lin, the writer and director of the teenage-wasteland drama 'Better Luck Tomorrow,' a shrewdly tense piece of storytelling, recognizes that sometimes it's good for a filmmaker to stir up trouble.

When you do a first movie, you're contractually supposed to do the second one and then you don't do it, you become an executive producer. That's why there are a ton of directors who have executive producer credits on other movies.

It doesn't matter who's directing, or who's doing the movie; there are a ton of things that can go wrong, and they do all the time. So you just have to figure out how to get through it, and then how the director finally puts it together, and then see what the audience takes from it. That's the most important thing to me.

Because acting was my only professional outlet, I put a ton of pressure on the roles that I did. I overstepped my bounds, I tried to control things that were out of my purview as an actor and in some cases even tried to direct my scenes because I felt I knew how they should run rather than trust the director.

I think every movie is its own little world, and a director certainly sets the tone.

I feel as if I've been fairly successful with maintaining a cohesive tone between the work I make as a photographer and as a director.

I didn't feel like going any further in this scene with the boy. He was not a professional actor, and if I had pushed the scene any further it would have destroyed the tone of the movie.

As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.

As producers, we can influence where the budget goes, but only the director really controls what tone, what type of movie you are trying to make.

Alexander Payne is one of those directors who is completely in charge and knows exactly what he wants, which is really fun. It's fun when a director is very specific. He knows totally the tone that he's going for. It makes it easier than if everyone's just guessing and trying to figure it out.

Establishing mood through pictorial means is the director Ridley Scott's most notable talent. There may be no working director more accomplished at wringing texture out of the color blue than the prodigious and now prolific Mr. Scott; you'd swear that with his dazzling washes of blues and sand tones, he was inventing additional hues on the spot.

It's always great when a director is just supportive of what you're doing. They're not so much critiquing you but giving you more ideas, giving you tons of things to work with, making you question your character and making you think about it... and making it seem like everything is limitless. That usually helps a lot.

I think anything Tony Kaye would've done would've been interesting, definitely. And worth seeing.

I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director, and has an amazing ability to express himself, and he doesn't do it in musical terms, he does it in emotional terms. I got along really well with him.

Tony Kaye is great with that kind of stuff. Up until American History X, he had only done commercials.

When I started writing the screenplay for 'The Queen,' about the aftermath of the death of Princess Diana, both Stephen Frears, the director, and Andy Harries, the producer, begged me not to put Tony Blair in it.

I did B-list films because I couldn't find A-list ones. And then when I approached A-list directors with the experience I had gained, I was told that it was too late because I had done B-list films.

I think the hearing loss started with 'Bonanza.' Sometimes the director would put us in a box canyon and have us fire our guns. The sound would really reverberate in a box canyon. It took me a long time to realize what was coming on me.

You show people playing poker or hacking into a computer; it feels so significant in the script, and then when you see it on the screen, it loses something. But there's something about cooking - food being prepared is incredibly captivating. It became just a fun box of tools to use as a director.

I take it very seriously, music. I think it's one of the tools that a director has with which to kind of paint. The right music can sometimes do five pages of scripted dialogue.

It was a very critical moment for me when I began working with David Cronenberg and seeing this amazing director and creator choose to base himself out of Toronto.

It's part of the job of the actor to torture the director.

I generally don't involve myself in giving the actors some tips on acting. At the same time, I don't do that with the director.