A Quote by Jacki Weaver
A lot of directors want to storyboard you, whereas the best way to get a performance out of an actor is a collaborative process where you listen to the actor's input.
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I would like to believe that I am a collaborative actor. That's why I love all the directors I have worked with in recent times, as they are all collaborative directors. I think my constant desire is to keep bettering my own work. I don't get easily satisfied with my work; I am very critical of it. I learn from my mistakes.
You spend enough time on set as an actor and it's great when a director was at some point an actor or understands acting. They're able to finesse performances out of you that a lot directors can't get.
You don't want to bring an actor in and force them into a performance. You want their input. You want their creative thoughts.
You can say something that can really help and actor and you can say something that can really get in the way of an actor's performance, kind of cut them off from their instincts and really get into their heads. And every actor's different. Every actor requires something different. Being an actor, for me, was the greatest training to be a writer and director.
I've always felt it's the directors purview to say what; it's the actor's purview to say how. It's not good for an actor to have the big picture in mind - it bollocks you up. An actor's purview is the tiny little... We measure our performance in seconds.
As an actor, you can go in, and you give your best performance, but if you hand that performance to ten different directors and ten different editors, you get ten different movies.
In a collaborative environment directors hire actors because they want their input, not just their bodies.
If a good actor wants a role, they'll do whatever it takes to get the part. Directors are the same. We do 'meetings', not auditions: that tells you a whole lot more about an actor, too.
Very occasionally I hire an actor and get it wrong. The actor just doesn't trust the process or me as fully as I thought they would. In this case, you can be quite sure that if an actor is untrusting, it's got nothing to do with me or the process.
It's incumbent upon a director, if you want to pull the best performance out of an actor, you have to really work to who they are and how they work and not just expect them to hit a mark every time. You have to be very adaptable in the approach that you use with every different actor.
What's with the whole 'child actor' and 'teen actor' thing? You're either an actor or actress, or you're not. I don't get it! I want to be taken seriously as an actor.
It's very hard to tell an actor, 'Stop acting.' It's easy to tell a non-actor, because they're embarrassed when they act. They get ashamed when they do something cliche, whereas an actor is happy.
There is no single approach that actors take to their craft. And the best thing you learn is that you have to really listen and respect each actor's own process and own method, and that takes a kind of delicate, non-imposing patience and openness, I think, to get the very best out of the people you work with.
For me, some of the happiest moments on a live-action film are the awkward moments. One actor says something to another actor. They didn't expect that performance from that actor; that affects their return performance.
Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.
I feel whatever an actor does on screen is something the actor 'does,' and what the director can do is to tell, talk or instruct. So, all the credit for an actor's performance goes to the actor alone.
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