A Quote by Aditi Rao Hydari
Though all actors do not make good directors, Dhanush is really one of the finest. He knows exactly how to direct an actor to extract the performance the way he wants it. Perhaps that is happening because he is a performer himself.
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A good actor knows exactly what the camera wants, what the sound wants, where to find the light and how to tell a good through line and journey.
Working with actors really depends on the actor. Most of the directors I've worked with don't really know how to speak to actors, actually; some of the best directors don't.
Sudhir Mishra is one the finest directors; he knows how to manipulate an actor's emotion, sensibilities and expressions.
Truthfully, most directors don't direct actors. Every actor is different, so when you're asked, "How do you approach an actor?," it depends on the actor. With some, you do nothing. With some, you're very specific.
As an actor, I had noticed very vividly that very few directors know how to direct actors because they haven't done it.
Pain and pleasure, like light and darkness, succeed each other; and he that knows how to accommodate himself to their periodical returns, and can wisely extract the good from the evil, knows only how to live: this is true contentment, at least all that is to be had of it in this world; and for this every man must be indebted not to his fortune, but to himself.
A good director creates a playground for actors, and lets them go. The trick for a good director is in casting properly, and creating the playroom, and then they'll get stuff that they don't expect, and can't even direct. All the audience wants to believe is that whatever is happening, it is happening for the first time. They want to see the people within the work exchanging dialogue and action in that moment. There are not a lot of actors that can do that.
Sudheer Varma is very easy going and very confident director. He knows exactly what he wants. He has a very good vision and knows how many shots he wants for a scene. He is super fast. He gives freedom for actors to try different things. The atmosphere on the sets was never serious. We had great fun working together.
But actually my dad is a very talented director and not just his use of shots and camera, but he's very good with actors and he knows acting well. It's great to see him do that and be really good at it and he's been doing it for a while and he certainly knows how to make movies, and little movies I guess for a television show, and he's going to come back in November to direct a second episode, which I'm really excited about.
Richard Donner is one of the few directors in Hollywood that can make whatever movie he wants exactly the way he wants it. No one will stop him.
When you're casting a movie and when you're shooting a film, the eyes are the most important feature of any performer, really. Any great actor literally knows exactly how to use their eyes, and even as a filmmaker I love shooting huge close-ups because it's those eyes that mean so much to me.
I don't want to take shots at professional actors, because obviously the great ones are great. But I do think that given the kind of stories I've been telling in my films, it's hard for me to imagine how professional actors would have done better. And it's easy for me to imagine how they would have done worse. Because I think a lot of what an actor is trained to do and a lot of what an actor's instincts point toward is clarification, is always making it clear what's happening in the story, how the character fits into the scene, what the character wants.
You cannot judge the performance of an actor in isolation. A performance becomes good because of so many factors, including the other actors.
Brad Pitt is a dude who just wants to make good movies. He's not afraid to surround himself with the greatest actors, which I always appreciate because I've also seen actors who only want to surround themselves with weak actors because it makes them look better. That ends up making a poorer movie.
A really great actor, in a lucky performance, can transform himself or herself. I've seen actors do that. But often it's a mechanical transformation, which isn't as interesting, and you've got to be careful how you go about something like that, I think.
I realize how much I rely on the actors to really know the lines because I tend to forget what they are exactly, even though I've written them. I don't have them memorized. But when it's going well, there is that point where the actor starts to know more about the character than I do.
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