A Quote by Danny Boyle
Some of us are interested in directors, but really the vast majority of us are interested in actors. You experience the films through the actors, so they're all locked into your imagination in some kind of layer of fantasy or hatred or wherever they settle into your imagination.
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You experience the films through the actors, so they're all locked into your imagination in some kind of layer of fantasy or hatred or wherever they settle into your imagination.
I think you'll find a lot of actors will be interested in history because it sparks your imagination so much. When you enter a period of history, your imagination just goes wild in creating the world, which is really what acting is.
I've always been a history buff. It was one of the few subjects at school that really, really caught me. I think you'll find a lot of actors will be interested in history because it sparks your imagination so much. When you enter a period of history, your imagination just goes wild in creating the world, which is really what acting is.
In a rehearsal room, your real resource as an actor aren't the things around you; your resources are your imagination and your director and the other actors. In those close quarters, your imagination and your skills are what you turn to.
You've always got to have an imagination in the game we're in but it explodes on this. You get to try the costumes on before you start and feel the weight of them, which is great. But then you're opposite some of the greatest actors in the world and away you go. You find your imagination takes over without you really even thinking about it.
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.
Some actors like encouragement. Some actors prefer to have pressure. And sometimes, for some actors, its better to give your comment by silence, because they are so skillful, so gifted, that they understand without talking too much.
Henry Corbin creates the world - most of all his examination of the imagination and what the imagination was for him. Some philosophers would think of the imagination as a synthetic ability, how you put different things together. Artists more think of the imagination as creativity. So I really like the way that he presents the imagination as a faculty that allows one to experience worlds that are not exactly physical but are real nonetheless.
I'm really not interested in acting as a facade, I'm interested in it as an emotional expression and as a transcendent experience for an individual. I find that a lot of people, a lot of young actors, haven't gotten to the point where they're comfortable being stripped down. They're still interested in ornate jackets.
Experience tells us that whereas that degree of recognition can happen for one or two actors, for the vast majority it doesn't, so what matters is to try and be a better actor.
It might be different for people that are A-list actors, but a lot of us really look at what's offered to us and look for something that has some traction with other people. But, it's not like I read 100 scripts a week, and then pick and choose. Maybe some actors do. I certainly don't do that.
Marvel has this tradition, and I think that Sony has this tradition too, of hiring directors for Spider-Man who are dramatic directors. That are directors who are interested in human beings, in characters, in drama, and who are really good with actors. That kind of feels like a Spider-Man director to me. And because Spider-Man is always as big as the films that are being made at Marvel, it always is character and story. You can never take that out.
I just can't afford to get bored, because if you've been blessed with a generous imagination, which a lot of actors have, to be engaged, to be stimulated, is to liberate your imagination.
With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.
In a movie, you need good actors, whereas in a book, you don't, unless you have a really bad imagination. In a book, your imagination will do the acting for you. Also, the process of revelation is often different. Tension is achieved in a different way.
After making 'Secretary,' it was a real shock to me to learn that some directors just aren't interested in what actors have to say. They just don't want to collaborate.
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