English Director Quotations

Nervousness was never something I would ever associate with the Beatles ever. A Hard Day's Night was relatively unscathed by marijuana, but even then they were quite relaxed about it.

Hard Day's Night was one of those great films that will never happen again to anyone in their lifetime. UA were in profit before we'd even finished shooting - The advance sales on the album - the film was out before the album was out was more than it cost UA to make the film.

The title came rather early in one of Ringo's more tired and emotional moments.

I feel a little schizophrenic because my life is so totally different from here, obviously. And the French values are so different from American values.

I was able to go from stage hand to floor manager to assistant director to director in a year because there was just no one else to do it and what I didn't realise and what people don't understand now about television is that we used to do about five shows a day.

You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.

When I came to England at the very beginning of commercial television it was easy for me because I was only doing one or two shows a week at most. It was really a holiday.

What is drama but life with the dull bits cut out.

And I think you understand a little bit more why she falls for him. In a way, watching the French do anything is a little more fun because their gestures are different. And in that way, they make everything interesting.

This paperback is very interesting, but I find it will never replace a hardcover book - it makes a very poor doorstop.

Every time I do one I feel like I've never really quite learned anything. I always find that when I'm making a film, I find it a little bit like I'm doing it for the first time.

I want the score to have a really big voice.

I don't know really. I've always been interested in the small picture instead of the big one, and I've always been interested in relationship pictures.

It's easy to like the most popular films, but I have a great fondness for 'A Life Less Ordinary'.

There is nothing quite so good as burial at sea. It is simple, tidy, and not very incriminating.

You are faced with the choice: either my integrity remains intact and this is the work that ends up on the screen, or I have to leave, and I have to be known to have left.

We're selective about sound, we tune out things, or maybe you overhear something - and that's an area that's as yet totally unexplored.

So I grew up in an area where it wasn't expected that I would have a kind of scholastic career, or go to grammar school, or anything like that.

What I'm interested in is tone, and the ability to articulate in a very minimal way. That's the sign of a mature musician, and that's what I look for.

I think a director does have a huge responsibility to draw strands together, and to seek extension and development of his or her own ideas.

Trying to get work and life in balance is the most difficult thing. I have that knowledge now, but it was a setback at the time.

There is no terror in a bang, only in the anticipation of it.

Diane Lane's face mirrored every conflicting emotion about how she felt about what she'd done. It had radiance, it had guilt, it had sadness.

There's nothing to winning, really. That is, if you happen to be blessed with a keen eye, an agile mind, and no scruples whatsoever.

I stayed at MGM for about two years, and in that time I became part of the camera crew and worked my way up to be a focus puller.

So quite a lot of people who've come into cinema from the commercials world have had to learn the very fact of what cinematography is over again.

Soon, just as people can now go to Rymans and buy paper to start writing a book, they'll be able to get stuff to start shooting a film.

I love to have as much input as possible.