A Quote by George Clooney
If you want to protect yourself as an actor, always work with good people
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You want to work with good people. When you're working with good people, it frees you up. There's nothing worse, as an actor, to show up and then feel like you have to protect yourself somehow because you don't feel like you're in good hands.
What I try to do is make sure that the directors I'm working with are on the same page and want to do the same kind of films. You can really protect yourself as an actor if you work with really good people. It can hide a lot of flaws along the way.
Be friendly to everybody; protect yourself; people sometimes want a piece of you for no good reason; and always do things out of love not fear.
As an actor, you think to yourself, 'I want to do good work,' but you also want the work that you do to make an impact in some way.
This is what you have to ask yourself: Do you want to be good, or just seem good? Do you want to be good to yourself and others? Do you care about other people, always, sometimes, never? Or only when convenient? What kind of person do you want to be?
When something's wrong, even though you're the one doing it, you shouldn't feel defensive about it. It's hard because you have to protect yourself as a person in your life, but you can't protect yourself as an actor. You have to just take criticism.
As an actor, you always look for things that will stretch you and that are different than you are, so that you can surprise yourself, and you want to surround yourself with the highest caliber of people that will make you look good.
Like any other actor, I want to work with good directors, and I always look for good scripts. I've had to say no to some people; I suspect that's the reason I'm called arrogant.
Don Siegel last advice to me was 'Don't short yourself.' He said the tendency is when an actor's directing is to kind of you want to work on everybody else but you're going to short yourself. He said, take the time to do a good job with yourself so that you're satisfied with it.
I've never trained as an actor. I've always thought I'm not a good actor. I've been told I'm not a good actor by a lot of people.
You can't ever let yourself be thrown by a camera. That's never good for an actor. When you're reading the script, you want to work with someone you trust so there's nothing to worry about.
I had to go in and do the work of toning [invented "historical" bits] down in order to make them fit [in Lincoln in the Bardo]. It's like if you're an actor and you're always overacting, well, you're a bad actor. But if you're an actor who subdues yourself to the extent that's necessary, then you're really acting.
Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.
You always want to challenge yourself and work with people you respect. You can't always go by genres, but it's always fun to challenge yourself.
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.
You have to believe in yourself and always strive for the best. Whether that is getting the best actor, the most talented cinematographer, or the best location for your story, you have to have the hunger to want it and be willing to do what it takes to get it. A filmmaker should never be satisfied with their work. There should always be something that they want to improve on.
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