A Quote by Hilary Swank
I think what's great about that relationship between an actor and a Director is you have to really blow away all your thing, the safety things that you put up.
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To be a great director, what does it mean exactly? It's not only about a great director, but also about being able to rely on the very special chemistry that goes between them. It not only has to be a great director, but the great director has to make his relationship to you, the actor, very special.
You know what talent is? The curse of expectation. As a kid you have to deal with that, beat it somehow. If you can write, you think God put you on earth to blow Shakespeare away. Or if you can paint, maybe you think--I did--that God put you on earth to blow your father away.
Film is such a director's medium; you're really in their hands in terms of the real storytelling. As an actor, you can give a performance moment to moment and some of your takes will be used and some of them won't. I think there are great films you can make with bad performances, and vice versa. There are all combinations of those things. It's really down to the director what happens, I think, so that's why it's really good to work with very talented, bold directors.
It is one of the few elements in the process that a director really, really can't control: an actor's performance. If you have a director that understands that, it's comforting to an actor. You're starting the relationship more as a collaborator, rather than as an employee or some kind of a soldier trying to execute something you don't organically feel.
One of the good things is the relationship between director and editor used to be more contentious. Studios used to leave directors alone more during the post production process and now they're clamoring to get in. So, the director and the editor end up teaming up sort of against the studio to fight what they're doing and you lose the creative tension that you used to have between an editor and a director.
In 2008, when I was wrapped up a very toxic relationship, I lived out of my car for about four months to get away. And what I learned about myself in the process is that sometimes a safety net isn't really that safe; it's what keeps you from flying. That year I went from playing football to being a football player. Football wasn't paying my bills, but people didn't really know how bad it was. That was the one place in the world that when everything else was chaos, I could be great. I think we all have that place where we experience greatness. Football definitely saved my life.
I've always thought Ed Burns was a profoundly underrated actor. He's a great director, obviously. A great director/writer. But I think he's a stunning actor, too.
I think acting helps me as a director no matter what. There is something about being reminded about the vulnerability it takes to be an actor and what I'm really asking of actors every day when I'm on set as a director that I think it's a really good reminder.
Anything can go away. There's no such thing as safety and security. You can do things that give you the illusion of safety and security, but there's really no such thing.
I think the toughest thing about being an actor in a film is to be with a director who doesn't know what they want. And that can be really, really frustrating.
I've had friends who have come away who've said, "I shouldn't have become such close friends with the director." You always want to get on with the director, but I personally prefer a relationship where you respect them - you get on really well with them, but they're boss, as it were. It's about trusting your director, for better or for worse. They're the one's seeing what's coming out on the monitors, so you have to try and trust what they say.
Gonna be a twister to blow everything down That ain't got the faith to stand its ground Blow away the dreams that tear you apart Blow away the dreams that break your heart Blow away the lies that leave you nothing but lost and brokenhearted.
I really loved working with Michael Caine. He's a really skilled and experienced actor. I learn something from everybody, but when you work with somebody like that, you actually learn things you can put in your toolbox, things about craft. Not necessarily life lessons, but actual things he knows that you can pick up.
I'm slightly ambivalent to the whole relationship between the whole advertising world and music. I think sometimes it works and sometimes it's a really bad mismatch. I think on this occasion its fine because the iPod is like your own mini-library and that can't be a bad thing. It promotes eclecticism and that's very much what we are about so it's a good relationship.
One tries to be an observer as an actor and indeed as a director because the small things, the give-away things are what are really interesting to a performer.
In some way, the relationship between a director and an actor is personal.
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