A Quote by Javier Bardem
I'm not the kind of actor that gets crazy with [directors'] names, what draws me toward a project is the material itself.
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What draws me to a project is how sympathetic I am toward it, so that I can relax into it and give up myself.
I've been offered lots of movies. There's always some actor who's doing a project and would like to have me do it. But you look at the project and think, 'Gee, there are a lot of good directors who could do that.' I'd like to do something only I can do.
In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
I love America. I eagerly became a citizen. I have no bitterness toward those casting directors who dismissed me because of my accent, nor toward the producers and directors who wanted to cast me but thought the audience wouldn't accept my accent. I think they're selling their audience short.
For me, I think you make a choice what kind of actor you want to be, and then it's kind of the material you choose.
Conviction of sin draws me away from myself and toward GodSelf-condemnation, on the other hand, draws me down into myself and away from God.
Directors don't get to see other directors at work - they're the only one on the set. I've met directors who've asked me what another filmmaker is like. So, there's probably nobody better placed to make all the comparisons and to pick up stuff than an actor.
I'm just thinking I'm just like a normal actor who gets scripts, and I read them, and... if I enjoy reading them, then that's what's exciting, then I get excited about the audition or the project itself.
Any filmmaker, big directors, and I'm not dropping any names - I actually have couple names I want to say, but I will not - we have a ratio. Each thing you repeat, my ratio is one to four.Actually some people are ratio one to 34. I know couple directors, big directors, they are just shooting over and over.
A lot of times, they can't hire actors just because there's this obligation that the audiences don't know who they are, and it's about making money. For me, the project that felt like all of it was 'Rachel Getting Married' because I had such a good time on that movie. Jonathan Demme, to me, is one of the most actor-friendly directors.
I think it seems to be when I'm trusted, and someone just lets me have free rein - 'Do what you want, man' - that kind of confidence that directors instil in me always gets my best stuff out.
There's a kind of poetic aspect to inert gas. And remember, first of all, they were completely unknown a hundred years earlier. We just didn't know about them. And then when they were discovered in the atmosphere, the idea that this is a material that would breathe in and exhale and becomes part of us for a while made it even more intriguing. The names, the Greek names, are interesting, too - if you translate neon, xenon and so forth are kind of interesting.
At times as an actor, it's often times unclear as to what the directors envision for a project.
I never made the movies for the critics; I've done the best I could with the material and the directors and the actors I had. But the thing that's really exciting is that once I do that one project that's different, that stands out, everyone's gonna be watching.
Entrepreneurs are all a little crazy. There is a fine line between an entrepreneur and a crazy person. Crazy people see and feel things that others don't. An entrepreneur's dream is often a kind of madness, and it is almost as isolating. What differentiates the entrepreneur from the crazy person is that the former gets other people to believe in his vision.
A good actor always sets you straight. If you've written a false moment and thought it was probably pretty great, the actor's gonna show you when he gets to that moment. They're the great test of the validity of the material.
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