A Quote by Evanna Lynch
Drawing on the experience I have of now directing, to me, my one strength that I know is my ability to communicate with actors and therefore make characters really important.
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My drawing, like that of most cartoonists, is intended first of all to be functional: to create believable space, and communicate information. My strongest point in drawing has always been my ability to show characters' nonverbal communication through facial expression and posture.
When I got into the movie business, working with actors was the one thing I was really weak at. I didn't know what to say to actors. They scared me and intimidated me. The actors that I've worked with who have had a lot of experience, or who I've even grown up watching as a kid, were really scary. I was like, "What am I going to say to this person?" But, I've matured. It's fun. I understand what actors do now.
It's our job as actors to make it look like it's not manufactured. If you have two actors who understand their characters - and therefore what they are trying to portray - then all they need to do is be the characters and there's a chemistry there.
Directing myself definitely made me a better actor. And, you know, I think actors have the best track record when they turn to directing. Writers, too. I knew how to direct actors because I've been there and I know what I like.
I think about things like the ability to communicate a vision, strength to create an environment where the actors fell very safe and where they can maybe they can work without e protecting themselves they can really stretch. These qualities are neither male nor female.
If there's anything I know about directing, it's how to make actors comfortable. It's where I started and it's what I know, and it's what I love. I like when the actors are really partners and I want them to be excited and I want them to surprise me. I don't want them to be puzzle pieces.
Well, actors get very frustrated with giving control to other people. They have their own ideas and wants for their characters. Warren Beatty once told me that he thought actors ended up directing out of frustration. If you have a strong sense of how to communicate a film, you should direct. The problem is that it is a huge commitment. I'd rather direct a play than a film due to the time. A movie can tie you up for a year or more.
I definitely prefer directing, hands down. I'm a lazy writer and it wasn't until I got into directing that I now have a real impetus when I'm sitting at my computer. Now that I know what it's like to get to bring characters and their stories to fruition, I'm addicted. I'm a junkie. I want more.
Social media has allowed me to communicate with girls all over the world. It's always been really important to me that they know I experience the same things that they do and face the same insecurities.
It starts with the writing. We have to think of all these characters - we have to treat them all equally. We have to think of them as having an interior life and having motivations. When I'm drawing female characters, I'm looking for that. I'm looking for subtext. I'm looking for ways to make the reader relate to them in a way that goes beyond the pure aesthetic value. You know, just drawing an attractive woman really gets kind of boring after a while.
While my military experience reinforced in me the strength that I have, it also demonstrated to me that I have the ability and power to make a difference in people's lives.
Directing non-actors is difficult. Directing actors in a foreign language is even more difficult. Directing non-actors in a language that you yourself don't understand is the craziest thing you can possibly think of.
I try to outline. I'm a lazy outliner. I will put the points down of each chapter or series of chapters, but it always changes. For me it's a place of evolution. I don't really know who the characters are. I don't really know what the story is. I outline and that really just gets me moving. It's like I'm drawing up fake maps, but they turn out to be correct.
I think casting is really important. Finding the right sensibility for the right part is an art in itself. If you're off there, you make it harder on yourself as a director. And it's fun to work that out with the actors. I don't think there's any magic to directing actors. It's very instinctual. Working with actors is really one of my favorite creative moments of the whole process, and the most fun, because it's collaborative. I spend a lot of time rehearsing. I'm very rehearsal-oriented, probably because I have some background in theater. I like knowing what will work beforehand.
And I realized that directing actors is really important because that's what ends up on screen.
Obviously, once you're finished, you're like, "Okay, I have to make this a movie now, and I need people - bodies to play these parts, and actors to bring this thing beyond a script." But when I was writing it, I wasn't thinking of actors; I was really thinking about creating three-dimensional characters.
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