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I've always tried to kind of stretch my wings as an actor and do things that are different.
I think it's always good when you're able to, as an actor, allow your work to be some kind of a conduit for social discourse, and an examination of where we are, as a society.
If I have to wear a hat as a producer to do that, then I'm willing to do that. An actor's, producer's and director's point-of-view is all the same to me, as long as the story's being told.
Getting the correct writer is simply like casting. You wouldn't hire an actor in order to tell him how to work. He knows how to work, which is why you hired him.
I do like taking on responsibility, sometimes too much. But I was aware of that early on and it's something that came up in the previous set of interviews, and that is the actor‛s contribution.
If you think about filmmaking as an entire spectrum, starting with the writer and ending with maybe the marketing department, the actor's contribution is a rather slender band.
I have seen no men in life loving their profession so much as painters, except, perhaps, actors, who, when not engaged themselves, always go to the play.
I like to write for actors I know and with whom I've worked before. You can write to their strengths and weaknesses and write roles that are better suited to them.
My goal is to work. That's the goal of most actors or performers: to work and keep working, and do the best you can, and keep growing and changing, trying to improve your craft.
I don't watch rushes. My whole thing is to try to stay in the moment with the other actor, and to let it all hang. I'm not sure I'm right on that, though.
Television can become a bit of a treadmill for directors. You come in, nobody knows you, the actors are already doing what they're doing, and you're just one of a number of directors who comes in.
Acting has to reach everybody on some level - it's a communication of feeling - but as far as judging the work is concerned, it is, I think, something that actors know about.
When you're young, you kind of take yourself seriously, and you think, like, "People need to see what I can do." And it's so laughable, especially with actors.
Well, the first thing I wanted to be was a carpenter. Then I wanted to be a painter and then a singer. It was when I first saw 'Lawrence of Arabia' that I wanted to be an actor.
It actually got me upset reading about adopted children. They become junkies or criminals or actors. I wanted to write a book from the children’s point of view.
I much prefer to watch actors and writers create "humanizing" moments for characters. In a drama, "humanizing" is far more impactful and powerful than "redeeming."
You know, it's hard as a writer to lose characters (and actors) you like. You really don't want them to die because you're not going to get to see them anymore.
Directing was a natural thing for me. Actually, it was far less stressful directing than being the lead actor. I was able to have my input in all aspects of it.
It's hard on an actor when you have to do a scene 45 times and you know damn well that three of the angles a director is shooting will never make it into the movie.
What actors are good at doing is walking into a situation that should make you incredibly self-conscious and frightened and doing it anyway. That's the gig, pretending that you are comfortable.