Quotes About Director

It's fun finding your way to the performance instead of coming in and hoping to God you're impressing the director - and hoping you're delivering the lines right with no treatment beforehand.

I didn't know you had to do so much to be a director. I thought, 'I can do it. I can write a treatment.' I didn't know about shot lists.

I have the deepest respect for Terrence Malick and greatly enjoyed helping him on 'Tree of Life.' I consider him to be a good personal friend and professional contemporary.

The ebulliently sharp mind of 'White Christmas' director Walter Bobbie made me tremble and strive in the same breath. The deceptively 'simple' dialogue of David Ives, asking every actor to just. say. it. Float it on the breeze; it doesn't need 'explanation,' just energy and truth.

As a director on 'The Office,' there's a tremendous weight that comes with directing features. I was being asked to direct a show that had already won an Emmy for Best Comedy. Steve Carell and the cast had already won the Screen Actor's Guild Awards.

There's nobody who loves being around actors working more than David Mamet, especially actors bringing his tremendous dialogue to life. I've never seen a movie director who was happier to be directing a movie than Dave.

We're producing a movie now, 'The Onion' Movie, and it's very difficult for me to be on the set. If I'm not right in the trenches, it's very difficult for me to watch another director, because I'm not involved and it's not exciting.

My father is an action director and he often worked with Veeru Devgnji. That's how I would end up at Ajay Devgn's film trials.

I started my career with her. I was supposed to do my first film in Tamil in which she was the other heroine. The film was titled 'Vennira Aadai.' It was a love triangle, with Jayalalithaaji and I playing the hero's two love interests. But the director Sridhar removed me from the film after a few days' shooting.

Capra is an old-time movie craftsman, the master of every trick in the bag, and in many ways he is more at home with the medium than any other Hollywood director. But all of his details give the impression of contrived effect.

I'm always cautious about overstepping any boundaries. At the end of the day, it's a director's medium, and if they don't want to hear from me I just step back.

I am often asked at what point in my love affair with films I began to want to be a director or a critic. Truthfully, I don't know. All I know is that I wanted to get closer and closer to films.

Besides entertainment and action, I want to educate. You know, as a producer or director, we do have a responsibility to society.

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.

Our Director had a vision, Sheriff Swagger. He envisioned a scientific national police force, incorruptible, untainted by ego, vanity, and politics. Alas, as we have learned, that also meant untainted by experience, toughness, cunning, and marksmanship. Lawyers make poor gunfighters.

I love the work of Hayao Miyazaki. 'My Neighbor Totoro' and 'Castle in the Sky' are two of the great films that he's made that I just love.

I think each character is different for me, but I am a director's actor. So if I get the right vision and right guidance from my director, I think sky is the limit for me.

A lot of the fear about being a first-time director is just starting with a completely blank slate and thinking: 'Is this going to connect with anybody?'

The fact that I'm sleeping with the director may have something to do with it.

In Dreams... well, I was slightly overcompensating with that. I was a bit like a director for hire, so maybe I was putting too much imagery that was familiar to me into it.

My criteria for doing theater has always been slightly different than my criteria with movies, in that there are a lot of reasons to do films, having to do with location, money, and first and foremost having to do with script and role and director.

As a film director and as film actors, you get used to a certain rhythm that's slow. But with TV, it's hurry, hurry, hurry, hurry, hurry. It's a different pace.

I kind of feel like... I have a slower instinct than most live-action directors, but I have more patience.

I was 28 before I started putting on productions. I got in the back door by doing fringe shows and a lot of assisting, and I learned on the job. There weren't many female directors when I was starting out. I slowly gained confidence and understanding of the theater, but on my own terms.