A Quote by Jeremy Irons
I keep working with fairly inexperienced directors. You know, if you have a good crew, a good cameraman, you know, I know what I'm doing. If the actors know what they're doing, we can all pull together, and it works.
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It's not a secret, but if you know what the hell you're doing, you pick good actors. And you know what makes a good actor? A good personality in the performer, in the person.
If I know my showboating bothers you, I'll keep doing it. If playing with your mind is part of the arsenal, and I know it works, then I'm going to continue doing it.
I know people know how good I am playing basketball... All I do is just use it as motivation: keep getting better, keep doing the same stuff and doing it even better.
I don't know if that comes in a number, I don't know if that comes in a plaque, I don't know what it is. If I can keep me and the crew around me happy, stable, and out of jail, then we good.
It's true that I don't think I'd be a good director. If I were a director, I'd try to hire the best people I could and then leave them alone. I don't know much about cameras or lighting, so I'd make sure that I had a really good cameraman who understood lenses and lighting, and I say to him, "This is the scene we have to shoot and this is what I think it should be, you go do it." Same with actors. But really, very good directors who know everything do basically the same thing. They hire you and then they leave you alone.
What we're doing is not just about becoming a model. It's bigger than that. It's shining a spotlight on folks who know who they are. They know what they want to do. And in terms of modeling, they're already working. They know what they're doing! They're fantastic!
I see women who have this struggle between what they know is right, what they know is necessary, what they know is healthy, what they know is good for them, what they know is good for the work that they need to do, what they know is good for their bodies, what they know is good for their families - all too often ending that statement with the upturned question mark: "If it's okay with everyone?" Still asking, still requesting, still filing petitions for somebody to say that it's all right.
There were a lot of people on the other side of the field saying, 'Maybe he's doing this, not doing that.' It's good to bounce back the year after and put up some good numbers, so they know that you're a guy who works.
All the magazines contradict each other because it is so diverse. Know what you like, know what looks good on you and keep doing it, no reason to chase trends.
My true role is to get actors to understand what the camera is doing and what my intent is so they don't waste their good stuff on over-the-shoulder shots and wide shots. They need to know when we're going in to get something important, so they know to really go for it. No human being can give you 1,000 percent on every single take or shot, so you need to let them know what you're heading for. It's important that the actors know they're being looked after and being recorded in a way so they can do their best.
With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.
As for the Canadians - good actors and good directors are sometimes taken by the American market, you know, if they're good enough.
I know what I'm doing. And I even know when I don't know what I'm doing. Then there are people who don't want to know that you know what you're doing.
I know a lot of really good actors - tons, just tons - who I still don't know why they don't work all the time because they're that good. It's just a weird business, and I know a lot of actors who shouldn't be working, but they work all the time.
You know, we live in a time when if somebody wants to kill you, they're going to kill you, and you can either go in a hole and, you know, pull the roof in over you, or you just continue putting one foot in front of the other and hope that you're doing some good in the world.
I love to get to that place where I don't know what kind of music I'm doing; I don't know if it's any good. I don't know if it's anything. It's a big question mark. The idea is to have interesting results. That's my bottom line.
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