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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.”

“With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.”

“I generally enjoy the rehearsal process because that's where you can share your ideas, get your thoughts and feelings out and see whether or not they're going to land, whether or not people are going to agree with them, particularly the director. So you can sort out in that process any elements that need to be sorted out before you're on the set, and of course that saves time and it also makes everyone more comfortable working together.”

“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.”

“If I would want to have a huge audience, I would make American movies, not French movies, because there is a limit of course with French language. If I prefer to shoot in my own language, it is to play with my language, to play in my Paris, and I have complete freedom in France. It's so amazing. If American directors could imagine how free I am, they would have asked for political asylum immediately.”

“I have walked many times around the world and each time it's different from the last one. It feels a little bit like I am a theatrical director, creating a theatre in space. It's really a theater in the sky. But of course the World Trade Center is certainly the most well-known of my productions.”

“Michael [Douglas] was just leaving the TV series The Streets of San Francisco and he said, 'Dad, let me try it.' I thought, 'Well, if I couldn't make it...' So, I gave it to him and he got the money, the director and the cast. The biggest disappointment for me, I always wanted to play McMurphy. They got a young actor, Jack Nicholson. I thought, 'Oh God. He will be terrible.' Then I saw the picture and, of course, he was great in it! That was my biggest disappointment that turned out to be one of the things I'm most proud of because my son Michael did it. I couldn't do it, but Michael did it.”

“I love telling truthful honest stories. I suppose I'd love the opportunity to be a superhero within a realistic dramatic piece. It would have opportunity for humor too of course. And ideally I would be the writer/director? (Though I suppose if I was, it is POSSIBLE I would give myself a meaty but smaller part so I could focus on the latter of my duties... Maybe).”

“It was Die Hard in my father's workshop. And so when that opportunity came up, the possibility of doing it, it's more the teenager in me who says that, 'I have to, of course I'm going to.' So that's the fun of reinventing, or just getting involved in things that really, actually loved as a kid growing up wanting to grow up to be a director.”

“I had been at the director's workshop for women at the AFI, which at the time was a great thing to do. I had always meant to direct, and for a variety of reasons that are hard to explain, I never did. I produced many things - there'll be people who tell you I directed through them - and of course I wrote. It took a divorce, a move back to New York and a kind of "now I can do anything" to say, "I really want to do this."”

“It's incredibly easy as a director to be egotistical. Of course, it is because you have 200 people on set every day listening to your every word and whatever you say goes, and that can be slightly corrupting. And actually, to be a good director, you have to take ego out of it, because hopefully what you've done is surrounded yourself with brilliant people. Let them be brilliant and you just shepherd that and marshal that and hopefully guide it however you can, but definitely not to the extent that you're overbearing.”

“What can Americans learn from the Olympics spectacle? According to the IMF, China will succeed America as the dominant economic power in the course of the next presidential term, so Howard Fineman, editorial director of the Huffington Post and MSNBC mainstay, was anxious to pick up tips. 'Brits long ago lost their empire,' he tweeted, 'but overall show us how to lose global power gracefully.' So there's that.”

“I'm a huge fan of director's cuts or reassemblies if they're good, but I remember being really excited about the restored version of Apocalypse Now, and then I preferred the original film. Kingdom of Heaven as a director's cut is the real picture, but in fact someone recently told me that there was another cut, the original first cut, which he said was just extraordinary. I've never seen it - and of course now I want to, if it exists, and so would everybody else.”

“Among today's directors I'm of course impressed by Steven Spielberg and Scorsese, and Coppola, even if he seems to have ceased making films, and Steven Soderbergh - they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic is amazing. Another great couple of examples of the strength of American cinema is American Beauty and Magnolia.”

“In the neighborhood around Waseda, there were all these movie theaters, so every morning I left the house and watched movies instead of going to class. The experience of encountering films then is one of my greatest memories. Before that I'd never paid any attention to directors, but there I was taking a crash course in Ozu, Kurosawa, Naruse, Truffaut, Renoir, Fellini. Because I've always been naturally a more introspective person, I was more interested in becoming a screenwriter than a director.”

“But then male directors also have a hard time getting their movies made... not as hard as women but it's a tough time for any movie this size. And that particular movie [The Hurt Locker] was so specific. It couldn't hurt, of course, and I'm really glad for her, but I don't know how much it will change things, if at all. The film industry is still so sexist.”