If we really exist merely to fulfill God’s plan: then life is a television drama; with God being the scriptwriter, the director, and, the audience.

I couldn't be a director because I couldn't put up with the actors. I don't have the patience. Why, I'd probably kill the actors. Not to mention some of the beautiful actresses.

I would've been intrigued by being a film director. I would've been intrigued by politics. I thought about architecture.

If I feel insecure, then I am in the wrong profession. I have to trust my director and the material he has given me.

One longs for a director with a sense of imagination.

Let God direct your steps. The main reason why many steps fail is that people know God is an expert in directing steps, but they don’t want to give him the contract.

He overheard the director talking to one of the cameramen. The cameraman was explaining that he couldn’t get a good long shot on the exterior because someone had set up a fake graveyard right in the plaza.“Kids just playing around, I guess, but it’s morbid; we’ll have to get rid of it, maybe bring in some sod to—”“No,” Albert said.“We’re almost ready for you,” the director assured him.“That’s not a fake graveyard. Those aren’t fake graves. No one was playing around.”“You’re saying those . . . Those are actually . . .”“What do you think happened here?” Albert asked in a soft voice. “What do you think this was?” Absurdly, embarrassingly, he had started to cry. “Those are kids buried there. Some of them were torn apart, you know. By coyotes. By . . . By bad people. Shot. Crushed. Like that. Some of those kids in the ground there couldn’t take it, the hunger and the fear . . . Some of those kids out there had to be cut down from the ropes they used to hang themselves. Early on, when we still had any animals? I had a crew go out and hunt down cats. Cats and dogs and rats. Kill them. Other kids to skin them . . . Cook them up.”There were a dozen crew people in the McDonald’s. None spoke or moved.Albert brushed away tears and sighed. “Yeah. So don’t mess with the graves. Okay? Other than that, we’re good to go.

Kenji Mizoguchi is to the cinema what Bach is to music, Cervantes is to literature, Shakespeare is to theatre, Titian is to painting: the very greatest.

[In the case of research director, Willis R. Whitney, whose style was to give talented investigators as much freedom as possible, you may define 'serendipity' as] the art of profiting from unexpected occurrences. When you do things in that way you get unexpected results. Then you do something else and you get unexpected results in another line, and you do that on a third line and then all of a sudden you see that one of these lines has something to do with the other. Then you make a discovery that you never could have made by going on a direct road.

It's a very tricky relationship, the cinematographer and the director as a woman.