A Quote by Elizabeth Taylor

I find it rather tedious working with some actors who have to go into a corner and bounce up and down, shake their hands and arms, saying to the director, "Just a second - I'll be ready in a few minutes, " while all the other actors are waiting around to get in. Then they say, "OK! I'm ready now." And then they come on and do it exactly the same way they've done it in rehearsal.
And we will be ready, at the end of every day will be ready, will not say no to anything, will try to stay awake while everyone is sleeping, will not sleep, will make the shoes with the elves, will breathe deeply all the time, breathe in all the air full of glass and nails and blood, will breathe it and drink it, so rich, so when it comes we will not be angry, will be content, tired enough to go, gratefully, will shake hands with everyone, bye, bye, and then pack a bag, some snacks, and go to the volcano.
Some actors, and especially the younger actors, they come into the job with a lot of attention on how they behave and everything when they're not working. Sometimes that can be unfortunate because the work call is pretty intense and the preparation for it. If your focus is there, then the actual doing of the job will be fun and enjoyable. But if you're so involved in trying to be interesting and a character and everything when you're not working, it can get in the way and people get goofed up.
I did a lot of theater in school. I thought maybe I wanted to go to law school or be a judge or a politician. And then I just kind of got smitten by the process of rehearsal and working with other actors and those kinds of challenges. And then comedy.
You work with every actor differently. It's like if you're a mother, if you have children, some children need more discipline. Other children you back off of a little bit and let them be. It's the same way with actors. Some actors need a lot of hand holding. Other actors like to be let be and you let them go. Some actors like to be nudged just a little bit. Some actors don't mind line readings.
If I look back after 10 weeks and say I really want to stay then maybe I can make that happen. If I say OK it was good, but I’m ready to go then I can go, but for now I’m taking it week by week.
I think that all actors find they go down and then they come back up if you work on your craft. They come back up to the top and then they go back down and they come back up and they go back down.
I always thought that eventually there would be a moment where I realized that I had practiced enough and now I was ready to be a professional writer. Then I befriended a number of successful professional writers and realized that none of them ever felt ready. After that I decided I might as well stop waiting to feel ready and just get started.
I guess I say this for younger actors out there: you have to be brave, and you have to be ready to fail, and that's the only way you can be unique. So when a director is confident enough in what they're doing, and they allow their actors to be brave and bring in stuff, the more likely it's going to work out okay.
When you've written a script, if an actor has a question you're the writer as well as the director, so you have the answer. And if you don't, then you just be honest and say 'I don't know' and then you discuss it. So, working with the actors is fine.
I think all actors, when they're not working, say, 'If I can get to this point where I'm working on a consistent basis, I'll be happy.' Of course, then, if that happens for you, and you're lucky, you find some other reason to complain. There's a joke: 'If you want to hear an actor complain, give him a job.'
Actors are like kids, they need to play a little bit. And that's the nature of their job, they need to shake off some energy and then you as the director get them back on track. When you do loosen up the reins, you get some amazing things, but you have to wring out the performances for every last good drop.
When I was starting, I was working with actors who came up through the rep system, and they understood the discipline required: you were never late for rehearsal, you were never not ready to go on, you were always prepared; it was about showing respect to the rest of the company.
During the course of the year a number of ideas just come up automatically. I could be walking down the street. Or shaving. An idea will hit me and I'll write it down. Then, when I'm ready to write, I check my little matchbooks and napkins and find that it is good or it's pretty terrible. There are other times when I don't have any ideas and I'll go into a room and close the door and I sit and sweat it out for a day or a month and eventually I come up with [something].
I'm my biggest critic. I want there to be no flaws when you hear it. When I think that maybe it's ready, I just hop in my car it's gotta have some bump - and go to corner stores, youngsters on the block, play it for anyone. If they get into it, I get a reaction, the song passes the hyphy test. If it's just cool, we throw it away; it's not going on the record. But if it makes you wanna move - seriously - if it makes you react the same way I felt, then it passes.
Once, when Tom was over here, to tease Rose, I asked him, "Before she was born, can you remember? Were things just the same as they are these days? Did it still rain and get dark and all the stuff it does now? Did the sun go up and down in exactly the same way?" Yes," Tom said, and then he smiled at Rose and said, "No. Not really. Not exactly the same way.
Yeah, the actors really come in as lumps of clay. We're ready to work with the directors and find our way. These guys really come in having done their work.
This site uses cookies to ensure you get the best experience. More info...
Got it!