A Quote by Craig Brewer
There's something really special for a young person to sit in an audience and discover somebody, and it's rare to do because so much of a movie's economics are based on pre-existing actors or actresses.
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I don't know that a movie like Doctor Strange couldn't have been the second or third film we made. I don't think we're doing anything in that requires past viewing, as opposed to Civil War which we wouldn't have done as the first or second movie because so much of that film is based on the pre-existing relationships between the characters.
That's something that's really rare and special and what any actor would love - to have somebody that's specifically writing for you.
If you really want to break it down, on a small movie everybody knows that they're there for artistic reasons to do something special to make something amazing, and they're not going to get their normal hotel and they're not going to get their trailer, but they're willing to forgo that - and of course the salary - because they want to do something really special. On a big movie, most people are getting paid a lot of money, and so they're there to do the work.
If somebody for some reason, for music or for movie, becomes famous, it's because they have something, something special.
That's precisely what we do as actors: try to convince the audience we are somebody else. And if you can do that, you are really doing something.
In my pre-quarantine life, I would watch maybe, like, TV here and there, but I would never really fully commit to an entire movie because I can't really sit still for that long.
The public want actresses, because they think all actresses bad. They don't want music or poetry because they know that both are good. So actors and actresses thrive and poets and composers starve.
I used to pre-rehearse everything and then bring my pre-rehearsed performance to the set. Now, I'm learning to let it happen in the moment. American actors are much better at that than British actors. If I knew how to trust myself, I would have been much more relaxed.
We are cannibalizing our audience by only giving them regurgitated material. Every movie is either a remake, a sequel, based on something else. Based on a former television series. Based on a successful videogame.
There can be moments onstage - but sometimes in a movie, too - where you just feel you're in a golden space. You're in this strange world where everything you do makes sense. And it's funny: the audience is right in it with you, and the other actors, and you get these rare moments of feeling at one with something. You hear voices in your head.
I think that as actresses - and I've definitely gone through this in a really bizarre way, because I worked so much and was really lucky with the roles that I got when I was younger - I remember hearing the older actors saying, "It gets tough," and thinking, "Really? I can't imagine."
If my career was a basketball season, I'm in the pre-season still. I'm not blowing everybody out by 40 - there's so much work to be done, and there's no time to really sit and look back and be proud of what I've done yet, because it's the pre-season still.
I learned my business in the theater and in television, particularly working with the actors. You can learn much more in the theater than directing a movie, because then you have no time when you are shooting a movie to really work with the actors. You have to learn this craft somewhere else.
The action genre is kind of designed for a young male audience. But we found on 'The Matrix' that we hit the Valhalla of movie making, which is the four quadrant audience - the young male audience, the older male audience, the young female audience and the older female audience.
I'll say it, I love working with actors, I'm a fan of actors. They bring so much, and they can also break a movie, but when it works I give it all to the actors. I'll say it, I think that 'The Transporter' is great not because of my direction, it really is great because Jason Statham was great in it.
You're watching the movie for the first time when you're working with the actors in front of the camera. You don't think about how the audience will react. You discover the film.
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