A Quote by Elia Kazan
I like directors who come on the set and create something that's a little dangerous, difficult or unusual.
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I have a lot of ideas come to me when I'm working that are different from the plan, and sometimes that can be a little overwhelming and difficult for directors.
Directors don't get to see other directors at work - they're the only one on the set. I've met directors who've asked me what another filmmaker is like. So, there's probably nobody better placed to make all the comparisons and to pick up stuff than an actor.
I like dangerous directors who like dangerous actors and dangerous productions.
You often hear this about directors, how it's like having the best set of toys. This fabulous train set, the biggest box of toys that a kid could possibly have. The best directors look like a kid having more fun than you're supposed to have.
You often hear this about directors, how its like having the best set of toys. This fabulous train set, the biggest box of toys that a kid could possibly have. The best directors look like a kid having more fun than youre supposed to have.
Choose a love and work to make it true, and somehow, something will happen, something you couldn’t plan, will come along to move like to like, to set you loose, to set you on the way to your next brick wall.
This is a really difficult question. Although I once thought that a dream and an accomplishment are the same thing, I've now changed my mind. A dream is not something you can just reach out to, so I've come to the conclusion that one can only achieve their dream by accomplishing something little by little.
When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.
Playing Japanese characters and being in environments that are Japanese, like a character's apartment or whatever, if you have directors or art directors who just don't know what' s what with Japanese culture, then pretty soon something's just passed through. I've been through many times where I've pointed out the incorrectness of so much of what's been done to a set.
Redundancy is ambiguous because it seems like a waste if nothing unusual happens. Except that something unusual happens-usually .
Each artist attracts his own different set of fans. And G3 over the years has created it's own audience as well... they know it's something unusual and special that they're not going to get anywhere else ... young and old, both sexes, all come out. They all look at each other like, Wow, what are those people over there ? ... They're surprised at their own diversity.
I like directors who come ready to challenge you to ask the right questions about your character, and I know that directors appreciate that in actors as well.
Easy was, like, spending time with Jennifer on set. Difficult stuff about character is, it was a little bit like just being the only one with no superhuman powers.
None of my movies have ever made any money, so it's not about commercial success for me. It's always the same thing. I want to create something valuable, something unusual and different that the world has never seen.
I do like to work with young directors because it's such a difficult business that I think after directors have been around a while sometimes, not always, but sometimes their passion gets siphoned off because they get hurt.
Afraid no, I wasn't afraid but it was an unusual thing, it was an unusual feeling. It was an unusual atmosphere for me having grown up in this country and, and, and never seeing anything like that.
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