A Quote by Emma Kenney
The director will be like, 'Hey, great take. Do you want to see the playback?' And I'm like, 'Definitely not.'
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I've definitely had a bunch of action scripts sent to me, but again I'm a stickler for directors. If it's, like, an action flick with a great director, then it's like, 'Oh let's look at this thing,' but if it's just like a shoot-em'-up with a first time director, I don't know if that's the trajectory I want to take with what I'm doing.
Yeah, I mean I've definitely had a bunch of action scripts sent to me, but again I'm a stickler for directors. If it's like an action flick with a great director then it's like 'Oh let's look at this thing,' but if it's just like a shoot-em'-up with a first time director. I don't know if that's the trajectory I want to take with what I'm doing.
I'm not one of those actors that goes to watch the playback, after every take. I really don't like it, and I don't want to see it.
Hey, Amy, did you ever want to, like, get on the conveyor belt and see what happened? Like,'Hey don't mind me, I'm just hanging with cargo'?
A big thing for me is trusting the director, so I don't need to watch playback. I feel like the director is gonna tell me whether it's right or not.
I definitely see the voice as an instrument: It makes great drums, great synth pads, great everything. Vocals can be so many things, like, "Hey, I'm Michael Jackson, and this is my iconic voice," or a choir of people sounding like Mozart's Requiem. Mariah Carey is my favorite singer because her voice sounds utterly groundless. It's not even a human voice; it almost sounds mechanical.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
I prefer to have playback, but sometimes, you can't have that under most circumstances. First, it is expensive because you need a playback operator and secondly, it threatens a lot of directors. I only watch my performance. I see what is necessary for me so that I can see it right at the moment and I can fix it. That appeals to me a great deal.
The luge is the only Olympic event where you could have people competing in it against their will, and it would look exactly the same. Take people off the street, 'Hey, hey, hey, what is this?! I don't wanna be in the luge!' Once you put that helmet on them, 'You're in the luge, buddy!' 'aaaAAAaaaAAAaaaAAA... aaaAAAAA...' World record. Didn't even wanna do it. I'd like to see that next Olympics, the Involuntary Luge.
I'm trying to avoid any more asshole roles, at least for a little bit. The main criteria for me when choosing a project is a good director. I just want to work with these guys that I admire because I do want to direct my own films one day, and I want to pick their brains to see what their process is like, and see what I can take from that.
The best directing style is the one that lets me do whatever I want. Seriously though, I like to be challenged and I like to collaborate. I love finding the medium between what I think and what a director does. I hate when a director uses the "my way or the highway" approach. But it also sucks when they tell you everything you do is great and offer no input. It's a fine line a director has to walk. It is a hard job.
I didn't corner the market on great stories. I'm not the only one who can do something like work at a grocery store and then win a Super Bowl. Other people can do it. You hope people will see that and say, 'Hey, that will be me.' They're going to chase after it like I did. And they're going to be the next one.
I want to take roles that challenge me and I want to like the script and obviously feel connected with the director because the director to me is so important.
The producer can put something together, package it, oversee it, give input. I'm the kind of producer that likes to take a back seat and let the director run with it. If he needs me, I'm there for him. As a director, I like to have the producer there with me. As a producer, I don't want to be there because I happen to be a director first and foremost, I don't want to "that guy."
There is still so much that I want to see and do, but for me, it's the pure satisfaction of doing what you really want. I always had a problem doing things that I didn't want to do. I don't have a problem when my director says: "Don't do it like this; I want it like this." But generally in life, I like to do what I want, and for me the best way is through acting and making films.
What makes it frustrating is when a director or a studio head doesn't see me for the same part that they'll see, let's say, Drew Barrymore for. Drew's a great friend of mine. But it's like, "No, we want more of an American type of girl."
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