Quotes About Director

You don't get to see your family much. In the movie business, directors often go out of town for long periods of time, and even if you're in town, you're working 14-15 hour days. People tend to not balance out the important things in their lives with their career.

I don't go for holidays or celebrate my success because I know nothing is permanent. I don't let it get to me - like I am India's top director with too many hits. If that happens, I might lose the connect with my audience. The day I go wrong, they will run away from me. I want to be like an assistant director all my life.

I am open to playback singing, but only if my acting schedule permits. I would love to sing for myself in my films, but that depends on the director and if the makers think my voice is needed.

The first assistant director is just so important that the choice of that person is critical to the movie.

In my film 'Queen', there was a funny moment with the bra. My director called and said they are blurring the bra. They said it is vulgar. Our director was furious about it. We are artistes... We see props as they are. A woman's bra is not a danger to the society.

In the South, there is a celebrated Telugu film director name Raghavendra Rao, who is known for shooting women's mid-riff in a certain manner. They are done in a very aesthetic manner and doesn't look vulgar. Now, it is up to the audience how they are going to watch it. As long as the girl is comfortable acting in it, I see nothing wrong.

I've DP'd so many films for first-time directors, and I know the trauma, the heartbreak, the vulnerability, how much you have to believe in the story.

I think acting helps me as a director no matter what. There is something about being reminded about the vulnerability it takes to be an actor and what I'm really asking of actors every day when I'm on set as a director that I think it's a really good reminder.

I want a director who can let me feel that he's listening and watching and that he's got me covered. That security is really important for me because sometimes you go into a vulnerable space, and you want to be able to look to somebody because you get insecure: 'Did I do that right?'

I am quite an insecure person, and I think that, like any director, if I'm asked about my vision for a piece, I feel very vulnerable.

Everything feels so personal when you're an actor because you're so open and vulnerable, and you have to trust your director to guide you to where the storytelling needs to go.

The biggest surprise about making a movie has got to be the wait in between takes.

Charles Bean is a brilliant director. I come in with an idea and try to do it, but I fall on my face. And then, he says, 'Wait a minute, there was a little moment in there. Let's try that moment and expand in that direction.'

You grow up loving movies, and your first instinct is you want to be an actor, because those are the people you see in the movies. But when you actually become an actor, you're like, 'Oh, wait, this is actually only a small portion of the storytelling. If I want to really tell a story, I'd want to be a director.'

In 1952, I was appointed Professor at the University of Bonn and Director of the Physics Institute, with very good students waiting for a thesis advisor.

Eric McCormack is directing talent waiting to happen.

I got a script sent to me at this office and I got a call from a woman - Universal's doing a snowboarding movie. I'm not in it yet, but I'm supposed to meet with the director in New York soon. I'm waiting to hear back from them.

I have been waiting around to get the right script and the right director. For example, in the past, if a Hollywood director came to me with a script and wanted me to play a character, and she was a stereotypical Asian woman who gets into a fight and gets killed off quickly, that didn't seem to have much interest for me.

I'm the girl that waits for the director to say, 'I like that,' or 'Can you boost it up?,' or 'Can you pull it down?' I'm that kind of actor. I started in theater, so that's the feedback that I'm accustomed to. It's the feedback that I really thrive off of.

I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.

I sometimes have dreams that my assistant director is waking me up and trying to get me to the set.

When you walk onto a Peter Jackson set, you can see straightaway that money isn't an issue.

My instinct about a human being is paramount. For me, when a director has walked into my room or an assistant that I have hired, who has later gone on to become a director, is purely based on human instinct, be it Ayan Mukerji, Karan Malhotra, Punit Malhotra or Tarun Mansukhani. I am very susceptible to human energy and energy of spaces.

I was born in Florida. My first political campaign was as a field director for George Herbert Walker Bush in 1988.