A Quote by Haaz Sleiman
As an actor, my No. 1 focus was to be on the same page with the writer, director, and producers.
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I've always thought Ed Burns was a profoundly underrated actor. He's a great director, obviously. A great director/writer. But I think he's a stunning actor, too.
I think my family's watched me over the years in my career, in my pursuit of my career, and they've seen the challenges and the struggles that come with being an actor, with being a writer and a director, and the challenges of morphing my career in from just being an actor into a writer/director.
I'm very old-school. I like a director to direct me. I like to be the actor. I'm not particularly fond of the hybrid writer-director, or actor-director. Writers, directors, actors are all such very different people. I think it's unusual that two of those people are in one human.
I think that what kind of is making this different is the creative group of us that has come together and we're all kind of on the same page working towards the same goal. So it is a real collaborative effort of our hearts more than it is oh you have the writer, you have the director, the producer, whatever.
See... Relationships are hard, man. For order, for any relationship to work, both people have to be on the same page, both people have to have the same focus, and we all know what that page is. We all know what that focus is. In order for the relationship to work both people have to have the same focus, and what's that focus? That focus is all about HER! It's all about her!
As a director, it became important to hear that specific role read by that specific actor, and you hear the chemistry, or you don't hear the chemistry. So I'm not so bothered by the audition process anymore; in fact, I use it. It's a time for the actor to actually get to the know the director and the producers a little bit, too.
I'm not particularly fond of the hybrid writer-director or actor-director.
I didn't come in as a writer that found producers, I came in under producers. So I've always respected the actual production process and producers in general.
As an actor you can always blame the director or writer for negative feedback. But as a writer, you're the reason why everyone's in the room.
When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.
Sharing the same vision for what's on the page is always a good idea. The director's job is to establish what that is and make sure that everyone sticks to it when it comes down to actually executing it. Establishing what the vision is and being able to stick to it is the job, and everyone should be on the same page going in.
Clark Gregg and I are around the same age. He has been an actor and is a writer. But with a first-time director, there is a way to talk about things they might not know. Because Clark was an actor, though, he knew more about the process than most first-time directors.
The bigger the budget, the more people that you have to coordinate and it's not easy to do that always because, not only do people have trouble communicating in that way, but often there are internal disagreements and everybody is not necessarily on the same page. Even in a big-budget movie with famous actors and directors, everybody could be on a completely different page. The director has to figure out a way of getting everybody on the same page, more or less, and keeping them there.
If I have enough ego to say I'm a writer, a director, a producer, and an actor, I should have the energy and the knowledge to write a scene for this great actor named Henry Fonda and direct him in it and have it work.
Director and producers have to take all the risks they can. We developed this film with the possibility to create departing from a blank page and to discover things as the process went along and as we understood the things that at first we couldn't understand in words.
I need to be on the same page as the director.
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