Casting is 65 percent of directing.
There are two things I will never do in my life. I will never climb Mount Everest, and I will never work with Val Kilmer again. There isn't enough money in the world.
The importance of the assistant director cannot be overemphasized.
I think that you can't make a movie without a script. But you also can't make movies without actors. You also can't make movies without technicians. And there has to be just one person in charge of everybody, and to me that one person is the director.
I look at actors very closely. It's not an accident when the actors excel.
The accolades usually come when you're dead or too old to get a job
I've found that the more experts you have on a movie, the less control the director has.
I think all great actors - and I don't classify myself as one of them, incidentally - but I think all great actors listen well and I've learned that from a lot of the very good actors with whom I've worked - to really listen to what people say.
I think I've made some pretty decent films in the '80s and '90s.
I really, really love directing films.
The whole thing of this business is to retain your enthusiasm and, in a sense, retain your innocence and try to practice as much humility as possible.
If you don't cast well, you can be in real trouble.
One of the first lessons you learn as an actor is to listen.
So I've had really great assistant directors for my last seven movies.
I have gotten to a point in my life where I don't want to have dinner with someone I don't like.
Historically the director has been the key creative element in a film and we must maintain that. We must protect that, in spite of the fact that there is new technology that's continually trying to erode that.
The world is full of beautiful girls. But they're not Angelina Jolie. She's fun, honest, intelligent, gorgeous and divinely talented. She brings a hell of a lot to the party.
I feel that my job is to create an atmosphere where creative people can do their best work.
It's very eclectic, the way one chooses subjects in the movie business, especially in the commercial movie business. You need to develop material yourself or material is presented to you as an assignment to direct.
A disk unbeknownst to the director can go to the producer in another city or in another office and that producer can edit behind the director's back much easier than in the old days. Since these dailies are now put on videotape, more kinds of people have access to dailies.
And in Hollywood, you know, everyone is an expert. Most of them are expert editors. They can't direct, they can't write, they can't act, but, by God, they all think they can edit.
First, speaking for myself, I don't want to ever be in a position where I'm telling other directors how to make movies, because I don't think it's any of my business.
But I really am very active in the choice of the line producer with the producer of record and the distributing company, because I've had some terrible, terrible experiences with some line producers, particularly in cable.
You have to be a great storyteller. And you have to master the tools that you have to tell the story which are, inorder of importance, the script, the actors and then thetechnical means.
I mean, this whole digital revolution is really eroding the director's importance on a movie because, number one, just from a practical standpoint, with floppy disks and the ability to put all of the film onto a disk, more people have access to the movie.
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