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Directors Quotes

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Directors Quotes

“When I work on a film, you know, I try to get or inhabit the body of the character -from the vision of the directors or how i think the character should be - so if it's a film like SPEED, you hit the gym, you get to do some, train with SWAT People, hehe, but in general, I'm really focused and dedicated, and then in regular life, I don't go to the gym as often.”

“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.”

“I'd made pretty clear to the people at Paramount and Dreamworks that, if they wanted Lemony Snicket to comment, he would be completely horrified by the entire film. And as long as they understood that, it was okay. I'm not much of a fan of DVD commentaries myself, so this was my way of getting revenge, in a sense, for all the puffed-up directors and stars who talk endlessly about the self-aggrandizing minutiae of making a movie.”

“In Korea is what I do is I watch the playback of each take with all of the actors and spend a lot of time discussing each take. Also, I use the process we call auto-assembly because I storyboard my entire film right at the beginning, even before pre-production ever begins, so my vision is already laid out on the storyboard for everybody to share. It enables the on-set assembly person, as we call them, to cut together each take into a sequence. This enables a director to review the take within the context of the sequence of the scene.”

“I take bits and pieces from every director. I'd say Sylvain [White] and Nimrod [Antal]. They were more about teaching me lens sizes and depth of field and how to move the camera and lighting. I do want to direct and I didn't go to film school, so having a director that are very much hands on that way and looking to let me learn, that is a key factor.”

“I'm pretty happy with who I am. I like myself and what I'm doing. I don't need to be the world's greatest director or the most famous -- or the richest. I don't need to make a whole lot of great films. I can do my job and I can do it pretty well. This is the realization I've come to, later in life. It's called growing up.”

“I don't usually see what I've done. I don't often watch the film or watch the show. It's really about that experience on-set and within the scene. Because later, when the film comes out or the show comes out it's the editor's realm or the director's realm. But that moment on set, that's that electricity between me and another actor, and that's really what excites me.”

“The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.”

“The challenge in writing the songs for The Aristocats truly fell on the animators & director of the film. Robert & I wrote the initial songs for the film, just prior to leaving full-time employment at the Walt Disney Studios. Therefore, some of the songs we wrote for The Aristocats were never used. I believe, therefore, the challenge fell upon the makers of the film to select what songs made the final cut.”

“If a director says he doesn't care how many people see his films at all, I simply don't believe him. Otherwise why would he bother to make the film? The only explanation would be that it would be an act of masturbation. I think that every creator is looking for a receptor. He's looking for an audience. There are two parts of the equation: a creator and, necessarily, the receiver of the work. It's the same thing for a painter who wants his paintings to be seen.”