Harrison Ford Quotes

I'd love to direct a film, but I don't think I have the temperament for it. I'm very hyper, and I want things to be done ASAP. If I turn director, I might end up killing my actors.

For a long time, my shows were about people walking out or about getting my gigs canceled or having the presenter not wanting to pay me.

I have to speak for myself. As far as videos go - casting, the artwork, everything - I'm completely hands-on. You have to be if you want your points across.

I spent a long time working in restaurants and making no money. It was very character-building, but I think it could have been built in a shorter time.

No, I wouldn't direct a movie, no. I couldn't. I don't have the patience for it, I don't have the people skills. You have to be clever. I'm not really clever in that kind of way. And you have to be able to manipulate people, but at the same time allow them to feel like they are manipulating you, to get the kind of movie that you want.

I'm intrigued by films that have a singular vision behind them. A lot of studio movies have ten writers by the time they're done. You have a movie testing 200 times, making adjustments according to various people's opinions. It's difficult to have an undistilled vision.

A film goes through so many hands, that by the time it's done, it might not resemble what you thought you were making.

I love to direct! I get really jazzed by directing, but directing is not the same kind of personal expression, the same kind of personal intimate expression that writing is. Because when you're directing, you're basically managing, basically getting out of people doing their job, except when you see them going astray.

Directing is a huge amount of work with very little payoff, and a quarter of the money, and nine times more time spent.

Working from live models is too much trouble; it takes too much time.

It's a good thing I have another job because the UFC doesn't pay very well.

Hell, if I didn't do stunts, I'd have had to be a bartender, or something else that didn't pay well.

When it comes to music, I am a dictator. Making a Dirty Projectors record come to life is like making a movie; I'm the one that makes the picture, and then we all figure out how to realise it.

I tend to get hired because the filmmakers like what I do, so there's usually not that much conflict about the direction.

Earlier, actors had a lot of power in their hands. And now, it has gone in the hands of the directors and writers, and that is how it should be. They are the visionaries, and we are the doers.

I don't understand how other producers who have no experience making a musical jump in and produce one.

I know firsthand that the characteristics of a great engineer - problem-solving skills, a deep understanding of technology, and a results-driven mindset - are the exact same things that any executive, in any industry, must have in order to succeed.

The theatre world is so starved of funds, and that's unfortunately reflected in the pay.

I grew up with a concept of cinema as a directorial thing, meaning the director is allowed to sail the ship. Not a dictatorial thing.

I want to direct more often. The job of a producer brings its own benefit as you start to see the simplicity of film making. But yes there is a constant battle between the director and producer in me.

A lot of us who are creative and have all these great ideas just don't have the money to do it.

When I do feature films, I usually have a very strong sense of what I want to do. I have topics and subjects, so I go for it. I even know technically what I want to. But in the case of documentary, the story comes to me.

Michael Bennett, Tommy Tune and Agnes de Mille fought to be director-choreographers. They were just not going to do it any other way because the choreographer is so often at the bottom of the creative totem pole when you put a show together. So with that power you get a more direct point-of-view and that helps something called style.

The nature of filmmaking is that there are so many people involved in it, so many fingers in the pie, that part of the talent of a director is to try and get your personality through in the movie.

I haven't been a director-for-hire for any project. I work with people who appreciate that, understand that, and want to work that way.