Directorial Style Quotes

I do have aspirations when it comes to directing, I suppose, but in a sort of a vague way. It would probably come about if I found a project that I really felt passionate about.

Everything I've ever written, I had a very distinct vision of what I wanted it to look like. But, other directors never do it that way.

Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.

With a film, you try to keep your vision in it. I think with 'The American' and 'Control' I managed to do that.

Well, you don't make any demands to Steven Spielberg.

Movies are a voyeuristic experience. You have to make the audience feel like they are peeking through a keyhole. I think of myself as the audience. Then I use light, framing, and motion to create a focal point.

I've certainly worked with really great directors who haven't acted.

I'd love to direct, and I think I'd be a great director, but... I've been approved by the studio to direct, which I think is a cool jump of faith for them. Or proof that they're really stupid. But I don't think so.

The reason I took on directing a film myself was because, no matter how skilful a director was or how much I liked the film, there'd always be beats where I'd go, 'Oh... well, that's skilful, in a way, but it doesn't get the flavour I'd intended in the script.'

I was influenced by people like David Fincher and William Friedkin, and these directors who kinda paint their films with these dark shades.

I've never been a fan of directors who clutter a piece with all sorts of crazy preconceptions or weird ideas.

In Dreams... well, I was slightly overcompensating with that. I was a bit like a director for hire, so maybe I was putting too much imagery that was familiar to me into it.

I think it makes such a huge difference when the director has acting experience as well because it just means that he not only has a view of the film as a whole and the intentions of the scene in terms of the audience, he also has an actor's instinct of how to communicate something to us.

It was Howard Hawks who changed my life.

My work is better, maybe all filmmakers are better, for Polanski's imprint on cinema. He created language for all of us to use, there is no question about that.

I think I have much more appreciation for directing and movies overall versus a performance or an actor. Their body of work is more interesting.

The sensibility I brought to directing was similar to what I bring when I write.

For me, the French new wave is Truffaut and Rohmer. Godard I sometimes have trouble with because he's very much of a director's director. I feel Truffaut is such a humanist, and I always go in that direction.

I am sure I am one of 2,000 film directors in the world that Tarantino admires.

I'm accused constantly of having 'no signature.' That's the big artistic demerit. You can't tell a Wyler film from another man's film just by looking at it.

I'll say this: I think from a directing standpoint, 'Loving' is my most accomplished film. Strictly from a technical, directing point of view.

My greatest strength as an actor is that I follow my director's brief completely. The film is always the director's visual baby.

Tim Story is a fantastic director, and I'm so excited to get to work with him.

The idea of working with David Fincher or Paul Thomas Anderson or Wes Anderson or Scorsese or Spielberg or any of the guys I really idolize is a dream for me.

I would wish for any one of my colleagues to have the experience of working with Martin Scorsese once in their lifetime.