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“Or take this girl, for example. At a meeting just outside Paris, a fifteen-year-old girl came up to me and said that she'd been to see [The Double Life of] V茅ronique. She'd gone once, twice, three times and only wanted to say one thing really - that she realized that there is such a thing as a soul. She hadn't known before, but now she knew that the soul does exist. There's something very beautiful in that. It was worth making V茅ronique for that girl. It was worth working for a year, sacrificing all that money, energy, time, patience, torturing yourself, killing yourself, taking thousands of decisions, so that one young girl in Paris should realize that there is such a thing as a soul. It's worth it.”
― Krzysztof Kie艣lowski, Kieslowski on Kieslowski

“Directing teenage actors is like juggling jars of nitro-glycerine: exhilarating and dangerous.”
― Stephen King, 11/22/63

“The Director's Role: You are the obstetrician. You are not the parent of this child we call the play. You are present at its birth for clinical reasons, like a doctor or midwife. Your job most of the time is simply to do no harm.
When something does go wrong, however, your awareness that something is awry--and your clinical intervention to correct it--can determine whether the child will thrive or suffer, live or die.”
― Frank Hauser, Notes on Directing

“You cannot create results. You can only create conditions in which something might happen.”
― Anne Bogart

“Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect”
― Werner Herzog

“I found out it is just as hard to make a movie that you are not proud of as it is to make one you love.”
― Craig Ferguson, American on Purpose: The Improbable Adventures of an Unlikely Patriot

“Actors are all about entrances, but writers are all about exits.”
― Vincent H. O'Neil, Death Troupe

“There鈥檚 something different about when a female directs versus a male. The level of maturity, mutual respect, and energy that you get from a female director is so different. I鈥檝e worked with male directors who aren鈥檛 good, and no one says anything about it, but then we had one female director who was kind of all over the place and everyone complained. It鈥檚 so gendered. I feel safer when working with a female director because I know it鈥檚 from a female gaze.”
― Rowan Blanchard

“That's what I love most about writers--they're such lousy actors.”
― Vincent H. O'Neil, Death Troupe

“Regardless of the subject of my films 鈥� I am looking for a way of evoking in audiences feelings similar to my own: the physically painful impotence and sorrow that assail me when I see a man weeping at the bus stop, when I observe people struggling vainly to get close to others, when I see someone eating up the left-overs in a cheap restaurant, when I see the first blotches on a woman's hand and know that she too is bitterly aware of them, when I see the kind of appalling and irreparable injustice that so visibly scars the human face. I want this pain to come across to my audience, to see this physical agony, which I think I am beginning to fathom, to seep into my work.”
― Krzysztof Kie艣lowski

“I was ambitious and desperate to direct my first film, so I capitulated and blew it. Never again. Never fucking again.”
― Craig Ferguson, American on Purpose: The Improbable Adventures of an Unlikely Patriot

“One of the common themes you will read in interview after interview is the call to keep fighting for your vision. This is a message to women directors, producers, writers鈥攁nyone who wants to work in the business. Your voice counts. Your vision matters.”
― Melissa Silverstein, In Her Voice: Women Directors Talk Directing

“If you think that you can hide what your interests are, what your prurient interests are, what your noble interests are, what your fascinations are, if you think you can hide that in your work as a film director, you're nuts.”
― David Fincher

“Your boss takes a dim view of SEX?”
― Vincent H. O'Neil, Death Troupe

“The words of his various writing instructors and professional mentors over the years came back to him at times like these, and he found a new understanding in their advice: Writing is rewriting. The rough draft is just that. You can鈥檛 polish what you haven鈥檛 written.

Things that made for a normal life鈥攍ike a daily routine that followed the sun鈥攖ook a back seat to times like these, and he exulted in that change because it served as proof that his writing was indeed the most important thing in his life. It wasn鈥檛 a conscious choice on his part, like deciding to repaint the bathroom or go buy the groceries, but an overarching reallocation of his existence that was as undeniable as breathing. Day turned into night, breakfast turned into dinner, and the laptop or the writing tablet beckoned even when he was asleep.

He would often awake with a new idea鈥攁s if he鈥檇 merely been on a break and not unconscious鈥攁nd he would see the empty seat before the desk not as his station in some pointless assembly line, but as the pilot鈥檚 seat in a ship that could go anywhere.”
― Vincent H. O'Neil, Death Troupe

“Directors tell me I should direct because the questions I am asking are the questions that they are asking rather than the questions that they expect to come from an actor. I do get that a lot. But there鈥檚 a great difference between being able to stand there and make suggestions when it ultimately doesn鈥檛 stop at you versus when it does. I think my issue with directing would probably be that I am kind of a loner. I like being responsible for myself.”
― Christian Bale

“You Never Know A True Friend Until You get Into A Serious Misunderstanding With Him Or Her”
― Michael A Johnson, A 1980s Childhood: From He-Man to Shell Suits

“I cobbled together that film-school experience for myself. I didn't ever sit in a classroom: I would watch DVD commentaries of directors. I was like, "...So, this person is just going to walk me through every single thing they did to make this movie? And it's on every movie ever made?!"

All that's to say: There are different ways to learn.”
― Ava DuVernay

“I was always bad at reading scripts. Back then, I鈥檇 be offered millions of dollars to do movies and barely crack the first few pages. I鈥檓 embarrassed to admit that now, given that these days I鈥檓 writing scripts myself and it鈥檚 like pulling teeth to get actors to respond. Maybe they feel how I used to feel: that in a life of fun and fame and money, reading a script, no matter the size of the number attached, feels all too much like school.

The universe will teach you, though. All those years I was too this, too that, to read a script, but last year I wrote a screenplay for myself and was trying get it made until I realized that I was too old to play the part. Most fifty-three-year-olds have worked their shit out already, so I needed to hire a thirty-year-old. The one I chose took weeks and weeks to respond, and I couldn鈥檛 believe how rude his behavior was.”
― Matthew Perry, Friends, Lovers, and the Big Terrible Thing

“I鈥檝e never liked the term 鈥榓ctor鈥�.鈥� Barron spoke slowly, joining hands with the cast members to his left and right. The rest of them formed a circle, also holding hands, and he continued. 鈥淪eriously now, is anyone here 鈥榓cting鈥�? Is anyone here pretending?

鈥淢e, I鈥檓 a theater director. One hundred percent, all the time. I鈥檓 not pretending, or acting, or trying to fool anyone. This is what I do, and I give it my all鈥攋ust like you. I look around me, and I don鈥檛 see a single phony. I see people who give their hearts, their minds, and their very lives to being serious performers on the stage. In the last weeks I鈥檝e watched every one of you give up the easy life to come here and bust a gut to make this show a reality.

鈥淭hat鈥檚 why I call you performers. Not actors鈥攑erformers. Because when it鈥檚 time to prepare, you work out every nuance of a role. When it鈥檚 time to step in front of the crowd, you reach out and pull them in with both hands. When it鈥檚 time to say your lines, you deliver them with skill and meaning. That鈥檚 performance. And there鈥檚 nothing phony about that. There鈥檚 nothing pretend about that. There鈥檚 no acting that will take the place of that.

鈥淎nd so that鈥檚 my wish for you tonight: Have a great performance. You鈥檝e done the work, you鈥檙e ready, and now it鈥檚 time to show off. Have fun out there, gang. Perform.”
― Vincent H. O'Neil, Death Troupe

“With Death Troupe, we come as close to the never-ending rehearsal as we can without going full improv. Your characters can鈥檛 become set because the culprit is different in every version of the play. Your lines can鈥檛 become rote recitation because the execution of those lines has to leave you ready to believably shift your character in any number of different directions.

And even if we reach the point where every one of you could perform every variant of the play perfectly in your sleep, there鈥檚 an audience just feet away, working against you, trying to figure you out, trying to catch you in a slip JUST ONCE.”
― Vincent H. O'Neil, Death Troupe

“So here it is: A month of heartbreaking, gut-wrenching work that, if we do it right, leads to no definite conclusion. Eighteen-hour days and eighteen-hour nights. For you new members, this will feel like some kind of endurance race.

We鈥檝e got one month to break down this awful script, rebuild it, learn every one of its variations, and then rehearse the result until you can do it in your sleep.

But even then we won鈥檛 be finished, because there鈥檚 a hostile crowd out there just dying to be the first ones to solve the mystery鈥攚hich we will not let them do.

Let鈥檚 get to work.”
― Vincent H. O'Neil, Death Troupe

“There was always a corpse when Death Troupe came to town.”
― Vincent H. O'Neil, Death Troupe

“That鈥檚 why I call you performers. Not actors鈥攑erformers. Because when it鈥檚 time to prepare, you work out every nuance of a role. When it鈥檚 time to step in front of the crowd, you reach out and pull them in with both hands. When it鈥檚 time to say your lines, you deliver them with skill and meaning.

That鈥檚 performance. And there鈥檚 nothing phony about that. There鈥檚 nothing pretend about that. There鈥檚 no acting that will take the place of that.”
― Vincent H. O'Neil, Death Troupe

“The striving fluency of the Hampstead nanny's boy is deceptive and occasionally plausible. With its cultural allusions and cross-references to other disciplines, it is the gab-gift of someone to whom English is an adoptive tongue. Intellect does terrible things to the mind.”
― John Osborne, Looking Back: Never Explain, Never Apologise

“Producing and directing a micro-budget film is like preparing for a tiny war.”
― Don Roff

“Dreaming is easy, hammering out concrete details is hard.”
― Eric Bates, The Contemporary Circus Handbook: A Guide to Creating, Funding, Producing, Organizing, and Touring Shows for the 21st Century

“Limits can be great for inspiring creative solutions.”
― Eric Bates, The Contemporary Circus Handbook: A Guide to Creating, Funding, Producing, Organizing, and Touring Shows for the 21st Century