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Directors Quotes

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Directors Quotes

“It's interesting for me to do the commentary with the actors because, as a director, you're so in your own world that you see it from your perspective, your issues and what you were trying to do, and then it's really very fun to hear their perspective on how it was to do a particular scene or how they felt, and sometimes, I didn't even know that, at the time.”

“I've never acted before in a movie I've directed. This felt like the time to do it just because the " Leaves of Grass" movie itself is so much of a platform for the lead actor. It's really written for an exciting performance and it really depends on the audience watching an extraordinary actor having a great time pulling off this feat. It makes sense to me as a director to act in support of that.”

“I'm completely surrounded, not only my father, but also my three brothers, and Sergio, my husband, all four of them work in film. Some are writers, or directors, or cinematographers, all of them. I'm surrounded by men that make films, so much that at some point I felt there was no more room in the family for another filmmaker.For many years I was only working as novelist or writing screenplays for others to direct.”

“It felt really nice to not have anybody talking about numbers, and no one is talking about ratings. From my experience, it felt like there was one person running the ship and it felt like there was space for Jenji to be at the helm. That's not what I've experienced in television before. It felt more akin to an interesting movie, where there were producers who were really excited by the work and wanted to make space for the director's vision to be sort of shared with an audience. It felt more cohesive.”

“I really like the director [for Weeds]. I don't know if you've spoken to him yet but he's really, really intelligent. He was just really kind when I met him and nice and really told me why I should play the part...and kind of really didn't argue with him. He's just really, really smart and assembled these really great people. I felt like he really knows how to enlist his intelligence to get you - I don't know - he's really hard to argue with I find.”

“It was a really strange experience. It was very creative for Alejandro Amenábar. It was almost like it was the most I ever felt like I was helping someone paint. They had a very clear idea of what they wanted it to look like, sound like, be like. So, there was no operating outside the box. The only way to help him was to try to really be a part of his imagination and try to make it happen. He's a super kind and loving person. So, you wanted to help him. It just was none of my normal ways of helping a director work at all. So, it was a unique experience for me that way.”

“I took photos from 1976 to when I left in 1993, primarily for Interview and a column I had called "Bob Colacello's Out" which Andy had conceived of. I've never taken a picture since, not even with my phone! It just felt too Andy Warhol to keep going around town taking photographs. And I never really thought of doing anything with them after I left the magazine until this great Art Director Sam Shahid about for or five years ago asked where all of the old photos were.”

“When I read the script [of Good Kill], it read like a science fiction film. And Andrew [writer/director Andrew Niccol] is known for sci-fi. But when I spoke to him, he said this picture was 100% factual, which blew my mind. I realized then how little I knew about the drone program. And I felt that, if I knew so little about it, there must be others who should be educated about what's going on.”

“The casting director on the movie made me aware of her. She told me what to watch Starter For Ten, which I did and thought she was great in. She was just so charming and beautiful. But I felt she could probably look plain if we tried. And when I subsequently met with her, I was so charmed by her vulnerability and sweetness. Those were two qualities that were the most important for that character.”

“I guess I always knew going into the movie that casting that part would be difficult. Oliver just felt likeable. I felt it would be hard to dislike this man. I don't know why, but I'm sure other directors have felt the same when casting him. Oliver is goofy yet formidable, smart but likeable... I didn't want the character of Alex to be nasty or demonised. I wanted him to be struggling with his actions.”

“This is many, many years ago. It was shortly after "Starman" I think. I don't know how close I was to getting the part. I met with [director] Penny Marshall and that's one that I knew would be a hit. It just felt hit-ish. But it's like you go to a store and you see a jacket and you go "I love that jacket" and you try it on and it's too big or too small for you and it's the only one they have. For some reason that part just didn't fit me.”