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Directors Quotes

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Directors Quotes

“When I left the University of Iowa and made the decision to come to Rutgers, I said to my athletic director, as both of us stood there crying, 'I wish I could just take Iowa to the East Coast. That would be the best of all worlds.' Of course, I couldn't. I have the best of all worlds now by being at Rutgers, being in this part of the country and being able to embrace and receive the great prestige that is part of the Big Ten.”

“I don't care if you hate me or if you like me, as long as somebody gives me a character that is really a character to play. It's fun to be able to have a character and have a director that can direct you into a character. I'm just so happy that I got a good role. I don't care if it's bad or if it's good, and I don't care if it's drama or comedy. They are just so rare to come across.”

“I like working with directors because I'm really opinionated about what things work and may not work, what audiences like and may not like, (not really) but I do have opinions about things. I like to be able to say them and then have them acted on. The director who responds to me like that, always gets my appreciation. I do appreciate it. What I find is the best directors, no matter what kind of name they have, are like that.”

“I wish I could say I had some sort of master plan where one role leads to the next role, but a lot of it really is persistence and luck and being prepared when you are asked to jump on a project. There isn't any one rule that I follow. Obviously, I'll always shoot to work with the best actors, directors and filmmakers. I've been incredibly lucky to be able to do that.”

“I've worked with multiple directors throughout the 'Saw' series with a lot of conversations as they bring their particular installment to the screen. If I've been able to do anything throughout the course of these films, it's been to help shape dialogue and to try to make things as delicate and as intelligent as I can.”

“I think that what's important as a director is to give your actors the feeling that they're protected, the feeling of confidence, the feeling that if they make mistakes, then as a director, you'll know how to help them. If you're able to convey that, then the actors will give you wonderful performances. As well as the author, you have to write scenes that give the actors the opportunity to show what they're capable of.”

“Director Michelle MacLaren is the John Cage of this malevolent silence, able to wield it as precisely as a pointillist with a paintbrush. And with 'To'hajiilee,' the final episode of Breaking Bad she'll ever direct, she has painted her masterpiece. Under the unblinking eye of her relentless camera, this was television not as entertainment but as endurance. It was agonizing, nauseating, unbearable. I loved every minute but hated every second. I couldn't wait for it to be over but I never wanted it to end. And I especially never wanted it to end like that.”

“I don't ever like to feel myself in the position to demand of an actor that they trust I'm going to do something worthwhile. I feel a responsibility to articulate what it is I'm going to do. Whether that's showing them a full script or sitting down with them and describing my ideas in detail. It's a very healthy burden on me as a film director to be able to articulate what I want to do, to inspire actors, rather than just saying, take it on trust I'll be able to do something worthwhile.”

“Any advice I could give to female directors would be the same as for males: There will be endless difficulties, some seemingly defeating, on your way. That's a given. Just wipe out the very notion of stress. Concentrate on your actors. Obsess about your story and the world it is anchored in. Deal with the hundreds of down-to-earth issues [around] the existence of your film. At some point, everything will be ripe. And you wouldn't be able to stop your film from coming to life even if you wanted to.”

“It was fantastic to be able to have my kids on set. Dash, my eldest son, who’s not quite five, was into knights and his godmother had given him a plastic Marks & Spencer knights’ outfit and [first assistant director] Tommy Gormley said that he could stand to protect me during the scene where Clive [Owen] is talking about the immensity of sitting on the throne. I’m actually looking through an archway at my son standing in his knights’ costume protecting me!”

“I think people were a little nervous to work with me to start with, because the movies I've done they thought that I wouldn't be able to control myself at all. I'd have to blow up the cars or something like that, and I think also people are scared of working sometimes with feature directors, because they feel like you're not going to listen to their opinions.”

“If you are able to see on a monitor what it's actually going to look like and have that kind of feedback informing your decisions, then you're bringing back a lot of the decision-making process of the designer, the director of photography and the director away from the post-production process and bringing it back into the actual capturing of the event on film.”

“A film can be big or small - I have to just fall in love with it. To connect with the character, the script, and the director. Sometimes they say to you, 'You should do that for your career; it's a big thing, people will go and see it,' but I wouldn't be able to, because my heart wouldn't be in it. I would drive people quite mad.”

“Sometimes I'll go for something more because of the story, or more because of the director. But, generally, I have to feel like it's something that I have a real sympathy for - a person that I can completely go, "Oh, wow, oh, I'm there." Otherwise I don't feel like I will be able to pull it off at all. I know I haven't done everything very well in the past; some things have worked and some things haven't. But I need to feel like I can feel about the person, understand that person, I suppose.”