A Quote by Brad Dourif
If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.
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You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
In theatre, there's the director, the writer, and below them the actor. In film, it's the actors who are most important. That goes against the grain for me.
The director is the most important because, ultimately, as an actor, when you watch a movie, it looks like an actor is giving a performance, and they kind of are. But, what's actually happening is that an actor has given a bunch of ingredients over to a director, who then constructs a performance. That's movie-making.
Film’s thought of as a director’s medium because the director creates the end product that appears on the screen. It’s that stupid auteur theory again, that the director is the author of the film. But what does the director shoot-the telephone book? Writers became much more important when sound came in, but they’ve had to put up a valiant fight to get the credit they deserve.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
The five most important words a leader can speak are - 'I am proud of you'
The four most important are - 'What is your opinion?'
The three most important are - 'If you please'
The two most important are - 'Thank You'
And the most important single word of all is - 'You'
An actor can play two or three lines where he says one thing, but plays the opposite. That's the most important moving part of a film.
I'm the type of actor that believes the director has to be in charge. I've been on sets where the actor's ego was the most important thing, and with a director that messes it up. But I don't like a dictator, I want it to be collaborative - the best idea wins. If I feel respected, and I'm going to give that back. If a director wants to try something, cool, I'll give it back. I also feel like they cast me for a reason, so I'm going to make my mark on it... let me do my thing.
Finding where to put the camera is probably the most important thing you have to learn when you're a young director, and it's something that's a mixture of instinct and technique.
When there's an actor involved, the actor's talking to the director or the director's talking to the actor. But when there are not those two people interacting, it's all one person in your own mind, you have to be so extra-clear about what you need.
I love the variety of films. In theater, you go into a room and the director runs the room, so you all work to his or her method. On film, if an actor or an actress is in for a day or two, the director has to get out of that actor what they need, so they have to change and adapt to that actor's technique.
Theatre is an actor's medium though behind the stage there is a playwright, director and perhaps in some, a music composer too, yet the actor is the one who ultimately tells the story to the viewers.
You could make the most beautiful film, and that weekend it's raining too hard on the East Coast, and no one goes out. Artists should have a chance to do it again. That's the challenge: Women artists don't get a second chance. People-of-color artists don't get a second chance. You're put in director's jail, and that's a wrap.
There was a choice of being a director who's more familiar with the technicality of doing a movie, like learning about the camera and filters and setup, or being a director who can actually talk to actors. And I always wanted to be an actor's director.
For me, the most important thing is the writing - and certainly the director. But if the writing isn't there, it doesn't matter who the director is!
I don't move until an actor is happy, but it was very important to me as a so-called "first time director" to keep the machine moving. It was especially important to me to keep it moving and not be some kind of precious writer-director.
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