Cinematic Direction Quotes

I don't know much of direction even after acting in so many movies. In fact, I still don't understand some simple things.

I don't want to exclusively direct white films, or black films. I want to have a choice.

I was doing well in TV as a freelance cameraman, but it wasn't the direction I wanted to go in. I directed videos and tried to put something cinematic in every one. Dialogue, action sequences, helicopter, Steadicam.

I know that Madonna is not a first-time filmmaker, but I have worked with a lot of first time filmmakers and I have worked with a lot of inexperienced film directors so that never has particularly worried me - I find it quite exciting - but I have never worked with a director who has had so little experience of directing who was so prepared.

Directing a film in Hindi is definitely on the cards.

For me, when I started writing, it was mostly poetry. And poetry is very visual. I feel the same way about the way that I approach direction. There might be a theme within the visuals that you're choosing that people don't consciously pick up on, but that they feel.

Above all, a director has to be a good captain.

When I write something, I want the best director to direct it. And that's not going to be me.

I loved working with Stephen Frears. He's a really fantastic director. He knows what he wants and how to get it.

Direction is something that interests me. Even while shooting, I always have conversations with the director to get a better understanding of shooting technicalities.

Working with [Robert] De Niro taught me a lot about being an actor's director.

Every actor has to move in a Terrence Malick film - that's the requirement. If you stop, he'll tell you, 'No, no, keep moving.' You can't be static. It's a choreography.

Directing action scenes is really just pure visual storytelling that just makes sense to me pretty intuitively.

As far as working with actors, I feel very comfortable working in that aspect of directing.

The cool thing about directing is, whatever cool thing works in the scene, it's still making the episode be a great story, and everyone's working toward that goal, so it doesn't much matter where it's coming from.

By the first week of shooting, you know exactly where your film is heading based on the psychology of your director.

In this type of cinema, whether working with actors or non-actors, as much as you do direct them, if you allow yourself to be directed by them, then the end result will be much more pleasing. The real and individual strengths of the actors is allowed to be expressed and is something that does affect the audience very deeply.

Ultimately, as a director, you try and tell people where to look, but unlike film or television, where you force them to look at something, you can't control it completely.

I think, as directors, they may recognize, more than the rest of the body of filmmakers, exactly what you do as a director, because I think sometimes the conception is if the camera isn't swinging around, and it's not pyrotechnic or worthily melodramatic, then the direction is uninvolved.

John Carpenter was very gentle. He was very tender. He really liked talking to actors. He really wanted you to be comfortable. He waited until you were ready to do the scene, and he has a lot of confidence.