A Quote by Barbara Crampton
Don't watch people's individual performances. Watch the energy that's being passed between them, and then you'll see if the scene is really working or if the actors are really doing their job. If they're playing with the energy that's between them, they're not just acting in their own little bubble.
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There are a lot of actors who will watch the monitors. They'll do a scene, and then the director will look back to see if he got whatever he wanted. I just find it odd to sit there and watch yourself. But if you can be objective, I can see how it's really useful as a tool, especially if you're doing something physical.
I watch the energy between the actors. That's the most thrilling and interesting thing to me about watching a movie, what the actors are doing.
It's a wonderful thing working with young actors. I know a lot of people don't like working with children. I actually adore it, because you watch their imagination open up and you watch them start to learn this job that I've been doing for so long. They come with such a lack of cynicism.
I grew up with a lot of cats like that and they always were so surprising, magnetic, and electrifying. You can't be with them too long because they burn you out but the energy, the impulsivity, and the freedom connecting them to their animal energy is just so powerful to watch. It's dangerous to live like that but it's riveting to watch.
There's a lot of different ways of going about teaching acting and ultimately you have to just kind of create your own. You have to be the author of your own acting school in a way. I mean you can take from this and this and you can watch people and you can watch performances on the stage. You can watch movies. But ultimately you have to figure it out for yourself.
I don't watch anything of mine much. I haven't gone to drama school, or college, either. I just like to watch other actors in action. I learned so much from working with De Niro. I'd be in a scene with him where I was supposed to be acting, and I was just watching.
I only watch my movies that I make once, so I can just see how it hangs together, but after that, I don't watch them again. A lot of people have disappeared from Earth that you've worked with, and they make me sort of sad once in a while, and there's really no necessity for me to watch them. I've made them, and it's on film and that's that.
I already love acting and I love actors, so being able to communicate with actors and to bring performances out of them, and to tell a story and aid them, is really exciting for me.
I don't think people really do listen. We plug into music, and we have short attention spans. We tend to download individual tracks from iTunes rather than a whole album. We buy music DVDs and watch them once, and then they disappear into a drawer, or we loan them to a friend, and we never watch it again.
With me, growing up in a theater family and having them be so supportive, from the jump, and being a part of this theater community where the brass ring is working, wherever that is, and then to play a character where he's not really concerned with that and is really just concerned with the monetary aspect of the job, and then to be identified with someone who is the antithesis of your energy and where you come from, has been a very interesting and surreal ride.
I'm watching the show and I'm watching the audience watch the show. Because once you leave the rehearsal room, you have space and you can see it. You can watch them watch it. You can't see your work, really, until you're in the theater. You have no perspective. That's not part of my job, to go, "Oh my God, they're so brilliant." I'm not required to swoon.
I watch these actors who when you go to buy a pint of milk you see them smiling on the cover of 20 magazines. Then when you see them in a film it's hard to believe the character because you just see them everywhere
I watch these actors who when you go to buy a pint of milk you see them smiling on the cover of 20 magazines. Then when you see them in a film it's hard to believe the character because you just see them everywhere.
I really trust the authenticity of real people and my job is to get them to be themselves in front of the camera. Often what happens is, you'll get a newcomer in front of the camera and they'll freeze up or they imitate actors or other performances that they've admired and so they stop becoming themselves. And so my job as the director is just to always return them to what I first saw in them, which was simply an uncensored human being.
There are a lot of actors who will watch the monitors. They'll do a scene, and then the director will look back to see if he got whatever he wanted. I just find it odd to sit there and watch yourself.
I don't usually see what I've done. I don't often watch the film or watch the show. It's really about that experience on-set and within the scene. Because later, when the film comes out or the show comes out it's the editor's realm or the director's realm. But that moment on set, that's that electricity between me and another actor, and that's really what excites me.
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