I'd rather entrust the government of the United States to the first 400 people listed in the Boston telephone directory than to the faculty of Harvard University.— William F. Buckley, Jr.
Most Powerful Directorial quotations
An actor who knows his business ought to be able to make the London telephone directory sound enthralling.
I would sooner live in a society governed by the first two thousand names in the Boston telephone directory than in a society governed by the two thousand faculty members of Harvard University.
My dad is one of the funniest people I know.
He's the sort of man who can make you laugh just by reading out of a telephone directory... He's a spastic.
The flagrantly gay Quentin Crisp dealt with homophobic bullying by refusing to bow to its onslaught. His number listed in the phone directory, he responded to derogatory remarks accompanied with a stated intent to kill him by asking, "Would you like to make an appointment?"
Elizabeth Taylor has more chins than the Chinese telephone directory.
I confessed to Mike [Cimino] a couple of days before we shot.
I was like, "What am I doing here, Mike?" And Mike just looked at me, in that very directorial manor, took a long pause, and he said, "You know the game tag?" And I said, "Yeah." And he said, "Well, you're it." That was some of the best direction I think I've ever received.
Limit use of shareware and public domain software to systems without fixed disks. If you do use them on fixed disks, allocate separate subdirectories... Public domain or shareware software should never be placed in the root directory.
If operating in a network environment, do not place public domain or shareware programs in a common file-server directory that could be accessible to any other PC on the network.
I don't have a directorial overview, which sometimes is very helpful.
Some people feel like you need to have a very specialized understanding of music to have the authority to talk about it. They are such good directors that it's perfectly possible to have conceptual and directorial and storytelling conversations about music without needing to know all the technical pieces.
[Reviewing the New York City Telephone Directory] But it is the opinion of the present reviewer that the weakness of plot is due to the great number of characters which clutter up the pages. The Russian school is responsible for this.
Why can't you summon a command line and search your real-world home for 'Honda car keys,' and specify rooms in your house to search instead of folders or paths in your computer's home directory? It's a crippling design flaw in the real-world interface.
I wanted a name that would put us first in the phone directory, or second if you count ABBA.
I had heard all sorts of stories about Woody Allen's directing - directorial approach. And some of them turned out to be myth. But, one of them was that he doesn't rehearse and another was that he doesn't really direct, if he doesn't like it...he cuts it out of the movie, or even replaces you.
Maine election law specifies that anyone who is qualified to access the voter file must keep it confidential. And that is directory language. Making the list available is discretionary under the law.
I think my ultimate directorial style is 'play.
' In reference to theater, it's called a play - I believe in that noun, and the verb that goes with it.
If you look at the Directory of American Poets and Writers, you know there are hundreds of poets in New York City. So therefore, just by specific gravity, it seems like a more significant place. Robert Wrigley is a poet who lives in rural Idaho - I think it's really back-country Idaho - and he writes beautiful poems.
Having total freedom to direct my own movies is more difficult than those I was hired for, where the framework has been already furnished. Unlike with my own work, I don't have to deny or feel embarrassed at the straightforwardness or orthodoxy of the directorial style, because I can say in excuse, "This is how I was asked to direct by those people."
When I am in Egypt, I am phoned because I am listed in the medical directory under "Mental Health and Psychiatry." And of course, I see very few people, because I give much more time to writing. So I cannot say that I really stopped medicine, but I practice medicine - or psychiatry - in a very different way. In an artistic way!
When I first met Laurence I was Keanu's [Reeves] stunt double on the first Matrix. So, a little evolution there with career status. But then cut to the thirteen/fourteen years later where now I'm asking Laurence Fishburne to trust my directorial capacity [in John Wick 2].
It was a little company that released [Bad Influence], it was really ahead of its time... I'm really proud of it. And it's Curtis Hanson. He'd directed a small movie before that, but it was his first directorial work that really worked.
If you talk about big trends at Disney, these movies generally are generated by directors or directorial teams pitching ideas to John Lasseter.
I think as he gets older, Quentin [Tarantino] is growing more and more into his directorial side, but the writer in him won't stop the pen. I don't think he deserved a directing nod. Like I said, it's beautifully shot - it's cinematography, obviously, deserves a nomination - but he's not the camera man.
You need to not be able to do anything else, to be in this business.
If you have other options, in those unemployed moments, those other options will take precedent. From a directorial standpoint, I think it's really Freudian, the amount of trust I have in filmmakers because I have such a trusting relationship with my dad.
An Ingmar Bergman film would probably owe a sizeable bulk of its import and its direction and its quality to the directorial end and to the director because it's uniquely a Bergman film. But that again is not the general - no, that's much more the exception than the rule.
I believe in the directorial point of view and directorial choices.
I actually like acting in things that I'm directing because I'm able to control the tone of how a scene may go and I know, very clearly, what I want from myself in that scene and what I need, as far as from a directorial standpoint.
A new biography of Madonna came out last week, and apparently the biography lists all the men she's slept with. The book is apparently called the Manhattan Telephone Directory.
It's a myth that you need to understand all the ins and outs of music.
The ideal scenario is you have a conceptual, directorial conversation about what you're trying to achieve in a theme and then trust your composer to go ahead and do that.
You only get one world premiere of your directorial debut.
I do have more directorial control over animation, because it's like trial and error: If something doesn't work, you can always go back and change certain things. Whereas in live action, every day is a challenge, and you have to make decisions on an hourly basis. So in live action I have more freedom as a director, but in animation, I have more control over the final product.
I believe that improvisation is really just a directorial tool.
It's a writing tool. It's not so much that the actors get to say whatever they want, whatever pops into their head. It's an opportunity to write the last draft of the screenplay as you're working on it.
The danger is to stupidly believe that depicting facts gives us much insight.
If facts were the only thing that counted, the telephone directory would be the book of books.
Charles Dickens was an avid seeker of names - he read directories and looked for odd names on gravestones.