People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.
I don't really want to direct myself, but I'm certainly torn in that direction.
I have my set rigged with the biggest sound system possible and have a mini jack for my iPod attached to my director's chair. I find playing music is a very direct way to communicate with actors and the crew, especially those crew members who are on the periphery of the set. I like dancing on set too, it's a good way to release tension.
The team you belong to must come ahead of the team you lead: this is putting team results (e.g., organizational needs) ahead of individual agendas (e.g., the team or division you lead, your ego, your need for recognition, your career development, etc.) Confidentiality is respected downward more than it is respected upward. Organizational alignment is a direct result of this hierarchy (if it were the other way around, organizational alignment would be very difficult to achieve).
I always wanted to write movies that I'd direct. I didn't come at it from a writing standpoint more than a directing standpoint, except that growing up, I didn't have the opportunity to shoot as much as I did to write.
There's music in my films but you seldom hear it. Very early I got the idea that the important things in films were people - the actors. They are the intermediary between the director and the audience. They make direct contact. People to people communication.
I would not like to direct, I would be one of those terrible directors who can't help line reading the actors their lines, because I would just want to be doing their parts.
I'm trying to avoid any more asshole roles, at least for a little bit. The main criteria for me when choosing a project is a good director. I just want to work with these guys that I admire because I do want to direct my own films one day, and I want to pick their brains to see what their process is like, and see what I can take from that.
With these Funny or Die videos, I do everything for them. I write them, act in them, and co-direct them with my buddy Brian McGinn, who I grew up with. We also edit them together. We're working on a small scale of Internet videos, but we're slowly trying to make them become a bigger thing.
We have a direct contact with our clothes; they're like a little house. You have to feel good and at home in what you wear and. I think that's elegance. Chanel said something like: "When a woman is badly dressed, one sees the dress, and when she is well dressed, one sees the woman." That's what I'm talking about.
Well, actors get very frustrated with giving control to other people. They have their own ideas and wants for their characters. Warren Beatty once told me that he thought actors ended up directing out of frustration. If you have a strong sense of how to communicate a film, you should direct. The problem is that it is a huge commitment. I'd rather direct a play than a film due to the time. A movie can tie you up for a year or more.
I would love to be able to get behind the camera and direct actors. I think that would be a lot of fun.
New Jersey was actually a very cold place. There was such an intense concentration of wealth, and such a low concentration of any actual human happiness. A lot of people seem to be similar to the kid in school, which is doing a lot of things with no direct consequence to their joy, or their lives.
Conversations are the most direct way to connect with people.
Manga uses Japanese traditional structures in how to teach the student and to transmit a very direct message. You learn from the teacher by watching from behind his back. The whole teacher-master thing is part of Asian culture, I think.
I'm pretty busy in my life and I'm very aware of what it takes to direct a movie. It takes a lot out of you; it takes a lot out of the rest of your life, from other people in your life. I don't lie around hungering for that consumption very often.
I start to get fixated on a story and a character and an idea, and at a certain point, I really want to do it. It's a compulsion to explore a specific thing, as opposed to a compulsion to direct, generally speaking.
See, I don't get the sense that you need to direct at all. Sometimes I get the opposite sensation from you, that you're like, "I really should go do something else." But then you are drawn back in by a particular story, like a hangnail in the brain.
I try when I'm writing to leave enough "space" for people to have their own interpretation, and not to direct it toward one conclusion. Then the audience would not be reacting, because they are being preached to or lectured at. I don't have that much to say that I think people should listen to me.
My advice for anyone wanting to direct is that nobody is going to hand you an opportunity. You have to create your own opportunities and not take no for an answer.
When you direct a film, everything should be about the story and nothing else.
Sometimes it only takes three words, so long as they're the right words, to direct an actor in the right way.
I couldn't direct traffic. It's hard enough just acting.
I try to keep feeling what's going on and try to use the camera, the actors and the design to enhance those feelings. There's something really emotionally direct and honest about how I put the material with the images. You hope that the strength of mise-en-scene comes from an honesty towards the material. You also hire really well.
For me, Twitter has given me a direct line to the world - it gave me an opportunity to be like, "This is my voice.
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