A Quote by Andrea Romano
You don't want to bring an actor in and force them into a performance. You want their input. You want their creative thoughts.
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Then finally I said, 'Okay, well, I want to know all the details. I want creative input. I want to be consulted. I want to know what they're doing and who's involved. And I want to see the space.' So they took me to see it, and then I realized it was major! All these red flags on the Rue de Rivoli with my name on them right by the Louvre!
A lot of directors want to storyboard you, whereas the best way to get a performance out of an actor is a collaborative process where you listen to the actor's input.
As an actor you have to bring to the table your creative input. But when a director like Ridley Scott says I want you to do this this way, you know when he gets to the editing room he has a reason for it. It's like watching a masterpiece.
As an actor you have to bring to the table your creative input. But when a director like Ridley Scott says I want you to do this this way, you know when he gets to the editing room he has a reason for it. Its like watching a masterpiece.
I want you to understand the words. I want you taste the words. I want you to love the words. Because the words are important. But they're only words. You leave them on the paper and you take the thoughts and put them into your mind and then you as an actor recreate them, as if the thoughts had suddenly occurred to you.
I want to be a force for real good. In other words. I know that there are bad forces, forces that bring suffering to others and misery to the world, but I want to be the opposite force. I want to be the force which is truly for good.
When I'm awake, I don't want to go to sleep. I don't want the hassle of turning the light off, putting my head down and then all the thoughts. I don't want al those thoughts... thoughts feed on thoughts feed on thoughts feed on thoughts feed on thoughts and I'm: 'I don't want this'. I have to knock myself out to go to sleep.
When I'm awake, I don't want to go to sleep. I don't want the hassle of turning the light off, putting my head down and then all the thoughts. I don't want all those thoughts... thoughts feed on thoughts feed on thoughts feed on thoughts feed on thoughts and I'm: 'I don't want this'. I have to knock myself out to go to sleep.
I wanted to play characters that were going to make me better and really challenge me to raise my skill level up or that were just interesting to me personally. I want to be the best actor I can be, and I want to be the most creative actor I can be. I want to take on roles that will move the chain to where I finally want to go.
I want to be a force for real good. In other words, I know there are bad forces. You know, I
know that there are forces out here that bring suffering to others and misery
to the world, but I want to be the opposite force. I want to be the force which
is truly for good.
As an actor, you never want to feel like a tool. You never want to feel like, "Hey, just come here, say this, stop here, look this way," and that's it. You want to have a little input.
I want to be the top player in the league, and I want to bring my game to another level. I want to play against the opposition's best players-and I want to beat them.
I'm not always open to creative input when I have my heart set on a creative idea or a message I want to convey.
I want a performance style that's more cerebral and emotional than physical. I want to be a creative artist, not a whirling dervish.
If an artist is going through a lot of bad publicity, I don't want to ask them about that. If they want to talk about it, I'll make them comfortable enough where they can bring that up on their own. Not only do I want them to feel comfortable, I want them to come back.
Each actor, every single time you work with an actor, you have to come up with the language that's going to serve them. And that's what allows them to give the performance that you want to nurture inside of them and what you think they're capable of giving.
