There are plenty of bad actors and there are plenty of bad directors. There are actors who will always be bad and there are good actors who you cry for because they're being badly directed or the material isn't good enough.
As an African-American athlete, you get discouraged that this type of thing is still condoned in people's lives. You look at a situation where we're good enough to work for you, but not good enough to be around you. To build a franchise, good enough to build business for you, but not good enough to mingle amongst your circles.
Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.
I keep working with fairly inexperienced directors. You know, if you have a good crew, a good cameraman, you know, I know what I'm doing. If the actors know what they're doing, we can all pull together, and it works.
Like letting spiders live because they eat mosquitoes, Clary thought. "So they're good enough to let live, good enough to make your food for you, good enough to flirt with-but not really good enough? I mean, not as good as people.
A lot of actors aren't particularly good directors. And they're not particularly good with other actors. That's kind of a fallacy.
I look for something that grabs me and that's heartfelt, and that's coming from a good place. I want to work with good actors and with directors that I can learn from.
It's not a secret, but if you know what the hell you're doing, you pick good actors. And you know what makes a good actor? A good personality in the performer, in the person.
With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.
The outsourcing gurus have been driving the theory, and they are saying everybody ought always to do this. But it is really contingent on where you are on the spectrum from "not good enough" to "more than good enough," relative to each tier of the market.
I do love my country. I don't think I'm particularly a good American. I don't know what makes a good American. Other than somebody who - I like people who let other people alone. I think that's a pretty good American. And I keep my hands to myself. So I'm an OK American.
It was good to see an athlete that emotional in the aftermath of defeat, to show that losing isn't good enough. Fighting hard and trying your best isn't good enough. It showed that the only thing good enough in his eyes was winning. It caused a tremendous amount of emotion from him when he didn't achieve that.
I think that some of the writing, directing, and the content is better than a lot of movies sometimes. Actors, well artists in general - actors, writers, directors - what we all care about the most is good work and being able to create something that is really resonant and meaningful.
Sometimes, as actors, if we work hard enough and stay at it long enough and are malleable and directable, then good things can come of that.
What is a good enough principle for an American citizen ought to be good enough for the working man to follow.
It's not often I get to do a film that turns out good. Plus, there just aren't that many great directors out there. There are a thousand different decisions that need to be made with each script and it's the good directors that can make those decisions. It's a long and complicated process in regards to what looks good on paper. Working on a bad film can be fun too. It can be a good exercise that gets you writing.