A Quote by Dana Brunetti

You want somebody who's capable of being diverse in the characters they play, and you want a big name that's going to bring attention to the filmmakers and to the project. — © Dana Brunetti
You want somebody who's capable of being diverse in the characters they play, and you want a big name that's going to bring attention to the filmmakers and to the project.
I want to stay active and busy. I don't just want to fight a no-name opponent. I want a decent name or a big name or a world champion, somebody who is going to challenge me. That's just it.
If you bring somebody into the band you are going to be with them a lot whether it's in the studio, on the tour bus, or at dinner every night; you want somebody you enjoy being around. You don't want an annoying guy .
I'm transitioning to television and film, but ultimately, I want to have a stronger presence on the web and be able to curate the content that I want to see. To bring attention to other filmmakers and writers.
I don't know whether it's audiences or filmmakers who want characters to be likable today, but I don't think actors are afraid of their characters being unlikable.
I don't want somebody who writes like me [in my writing staff]. Because I can write like me. I know what I'm capable of and what my limitations are. If you're going to build an orchestra, you don't want all tubas - you want a violin and you want a cello and you want a drum set.
I guess it's easier to get things made when you know the story you want to tell, you know the characters you want to play, and you know the filmmakers you want to tell them with.
If you want to make films, you'll watch Kurosawa. If you want to play a violin, you listen to Seghetti. Same with somebody who has the ambition to play in the NBA. I watch a basketball game; I enjoy it. Somebody who really wants to learn to play is studying whatever is most magnificent that's going on out there.
Choosing a director is like choosing a therapist - you want somebody who is going to be a step or two ahead of you, who can interpret and articulate your intentions better than you can, with the benefit of objectivity. I look for a collaborator who is going to help bring to life, on stage, in three dimensions, what is on the page. I wouldn't want a director who imposes conceits or distrusts the text or who has prejudged the characters.
I don't want to get ahead at the expense of somebody else. I don't even want to be the center of attention - I mean, yes, I made the movie and I can do all these things, but I don't want to always keep being in the middle of it. I want to collaborate with people and be a part of a creative community. I don't know.
With any project I work on - not just 'True Detective' - I don't feel the need just to play a strong woman. I don't want the audience to say, 'Oh, she was so strong.' I want to play characters that are flawed and interesting.
How do you want to live your life? How do you want to play the game? Do you want to play in the big leagues or in the little leagues, in the majors or the minors? Are you going to play big or play small? It's your choice.
We the people have the power to decide who we want to see in our advertisements and how we want the world to be portrayed. If we show that being ethical and being diverse is profitable, they're going to market to us.
You have to pay attention, like with tours and expenses; you have to factor that all in. You want to play music for the rest of your life, you have to pay attention to all the things. You want to know what's always going on.
Being an actress, I want to play people that are not like me or the characters I've previously played. It's easier to get roles if you play a certain type of character but I don't want to do that.
It doesn't matter if these characters are supposed to be together forever: if their chemistry gets stale, you want somebody to die, you want to put somebody in a coma, you want to write them off the show - anything to save you.
When you begin a play, you're going to have to spend a lot of time with those characters, so those characters are going to have to be rich enough that you want to take a very long journey with them. That's how I begin thinking about what I want to write about and who I want to write about.
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