Be extremely subtle, even to the point of formlessness.

Be extremely mysterious, even to the point of soundlessness. Thereby you can be the director of the opponent's fate.

A man sooner or later discovers that he is the master-gardener of his soul, the director of his life.

I'm trying to interpret the film through the director's head, but it all comes out through me. So, a composer is kind of like a psychic medium.

I'm a performer, comedian, entertainer, writer and director.

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I'm a storyteller - that's the chief function of a director.

And they're moving pictures, let's make 'em move!

In England, I'm a horror movie director. In Germany, I'm a filmmaker. In the US, I'm a bum.

My sole inspiration is a telephone call from a director.

Masood Ahmed brings to the position of director of external relations extensive experience gained in a range of senior positions in international finance and development.

Most actors go, 'I read the script and fell in love with it'; I fall in love with the directors.

Work is fun to me. All those years of being an actor and a director and not being able to get a job - two weeks is too long to not know what my next job will be.

I had come to the point when I realized it was unlikely that my film career was going to move beyond a certain level of role. And I was - because I had graphic instances of it - handicapped by the success of Star Trek. A director would say, 'I don't want Jean-Luc Picard in my movie' - and this was compounded by X-Men as well.

In a movie, you're raw material, just a hue of some color and the director makes the painting.

As a producer, I probably am a little stronger than most, since I was a director originally.

To be honest with you, a lot of directors can be very lazy.

Part of the advantage, and part of the result of trying to be a producer and director, are the practical things, you find. It's so advantageous to go to a place that you already have a feel for, a literal and spiritual familiarity.

At Camp One we were met by Director of Public Works Warwick Greene, grim and grimy. He has been working himself to death to make this transportation plan a success.

It's fun to do something funny and have the director laughing. It makes you feel good.

Now, I have big-money offers on three movies, and I have director approval.

That's kind of scary,' he says. 'No directors have been attached. That's a lot of pressure on me.

I don't think anyone can really make up their mind and say, Now I'm going to be a director.

On the stage, you alone hold the key, and on the night you have to trust that the director has inspired you enough to take the material and run with it.

But in the UK, I've given up any hope of being considered a director.

This is not a tough job. You read a script. If you like the part and the money is O.K., you do it. Then you remember your lines. You show up on time. You do what the director tells you to do. When you finish, you rest and then go on to the next part. That's it.

I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.

The director is simply the audience. So the terrible burden of the director is to take the place of that yawning vacuum, to be the audience and to select from what happens during the day which movement shall be a disaster and which a gala night. His job is to preside over accidents.

Safety from external danger is the most powerful director of national conduct.

Even the ardent love of liberty will after a time, give way to its dictates. The violent destruction of life and property incident to war, the continual effort and alarm attendant on a state of continual danger, will compel nations the most attached to liberty to resort for repose and security to institutions which have a tendency to destroy their civil and political rights. To be more safe, they at length become willing to run the risk of being less free.

Your audience gives you everything you need.

They tell you. There is no director who can direct you like an audience.

The audience is the most revered member of the theater.

Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.

I found it to be more challenging to be in a huge effects movie, because a lot of the things aren't there.You have to trust the director and react to nothing.

I've stood up to producers before, and even a director.

I saw them being abusive. A lot of people on the set are scared to say stuff when they're not being treated right.

In the end, it's acting, it's not real.

But every director will tell you that you have to create conditions that create tension, because tension is what makes drama feel real.

Theatre director: a person engaged by the management to conceal the fact that the players cannot act.

The standard rumor at the time was that Rumsfeld, as chief of staff, had persuaded President Ford to appoint George H.W. Bush as director of Central Intelligence, assuming that that got rid of a potential competitor for the presidency.

I always choose my projects for the script or what the director want to tell with that story. And if I like the story.

I go into a young film director's office these days and he says, 'Hey man, I know who you are. I grew up watching 'McHale's Navy'. And I think, 'Oh boy, here we go again'.

I love working with new directors. There's so much drive and effort. It still comes down to the character for me, but if it's a character I really want to play, I would never not do the project because of a new director.

I was a bartender in New York and I overheard this girl saying she made $3000 doing a commercial. A kid at work told me, 'Hey, I know this director and he'd really like you!'. So I walked into this guy's office and was like 'I was thinking maybe I could make $3000' and he hired me for commercials, short films, like 15 jobs in a row.

Cinema is a director's medium, so you're saying, "What do you want?" Being an actor is about adapting - physically and emotionally. If that means you have to look great for it and they can make you look great, then thank you. And if you have to have everything washed away, then I'm willing to do that too.

David Mamet was great to work with. He was everything that I thought he would be as a director. He's incredibly articulate, an easy collaborator. Extraordinarily knowledgeable about film and writing.

To me the only real star of the movie is the writer.

And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.

Nobody taught Picasso how to paint - he learned for himself.

And nobody can teach you to be a producer. You can learn the mechanics, but you can't learn what's right about a script or a director or an actor. That comes from instinct and intuition. It comes from inside you.

If I had to choose criteria, for me, it's about first the director.

I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.

The point of having a director is that they make the final decision;

it's their point of view, they set the rhythm and they make the final decisions.

So yeah, a good director will be able to listen and hear everything, but have a confident vision of his own that he can say, 'oh yeah - that's a great point.' And you never know; often you can help far more than you think you can, because there's so much more that he's juggling than an actor.

I got a nomination for director, which means the world to me;

it's just the most exciting thing for me and my family. You do the good hard work, and the rest of it is something you shouldn't get too caught up in, but when it happens - boy! I respect it.

The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.

I was raised in New York City and raised in the New York City theater world.

My father was a theater director and an acting teacher, and it was not uncommon for me to have long discussions about the method and what the various different processes were to finding a character and exploring character and realizing that character.

A lot of the films now are more focused on the visuals than on the actors.

I think all directors should go to drama school.

I don't watch the movies I make, so I haven't seen 'Footloose' since it came out. You see this young, hungry actor, it's pretty fun. I was the only one they screen tested. It was an attempt by the director and producer to talk the head of the studio into hiring me because they didn't want me.

I remember that it was never that difficult for me to get a director to look up and pay attention to me. Mind you, I don't know if that's necessarily charm. But I've played roles where my character has to be charming and I've found it quite easy to do. I think some of it is in my bones, but some of it is more deliberate.

I think TV is much more the writer's medium and film is about the director and their vision and how you can collaborate with them and see that through to the end. They are so different.