A Quote by Jimmi Simpson
Theatre is really difficult, so it's important that you have a director that kind of understands that and is really hands on.
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It is one of the few elements in the process that a director really, really can't control: an actor's performance. If you have a director that understands that, it's comforting to an actor. You're starting the relationship more as a collaborator, rather than as an employee or some kind of a soldier trying to execute something you don't organically feel.
Whenever I'm in theatre situations I will go out of my way not to talk about my father, but in the film world I can be really proud of my family and say, 'You know what: my dad's a really, really famous theatre director,' because nobody has any idea.
I really like the director [for Weeds]. I don't know if you've spoken to him yet but he's really, really intelligent. He was just really kind when I met him and nice and really told me why I should play the part...and kind of really didn't argue with him. He's just really, really smart and assembled these really great people. I felt like he really knows how to enlist his intelligence to get you - I don't know - he's really hard to argue with I find.
I went to art school, and I studied drawing and video art, and I've always approached music so visually as a result that I found it really difficult in the past to kind of hand off music to another director, 'cause it just ends up being this kind of mid-zone where it's nobody's vision, really.
As a director, you have to go in with a really, really, really clear picture of what you want. That's the point of my commentaries. It's so difficult because you're the harshest critic.
I've definitely become more aware and conscious of what directors I'm working with because it's so important. The director is really more than half the battle of the film. You really rely on that. That's become really, really important to me, for sure.
I appreciate good criticism and I think it's really important. I don't like it when it's consumer advocacy, like how you should spend your $60. Great criticism is a kind of literature. I've written some criticism, and I really enjoy it because I think it's important for people to know that theatre is vital. Criticism is really unevenly distributed in this town. Obviously the power of the Times is discouraging. It's killing new plays, demolishing one after another.
Your actors need to trust you as a director, but normally, I think you just need to have an open communication between the actors and the director. I think the director needs to really paint his or her vision to the cast and let them know the kind of mood that he or she is making. I think that's very important.
The most important thing when you do a movie is that you find an audience that really understands what you want to do and is really supportive of it.
Film is such a director's medium; you're really in their hands in terms of the real storytelling. As an actor, you can give a performance moment to moment and some of your takes will be used and some of them won't. I think there are great films you can make with bad performances, and vice versa. There are all combinations of those things. It's really down to the director what happens, I think, so that's why it's really good to work with very talented, bold directors.
I think the writer's quite low down in the hierarchy really. But the fact that they took the piss out of Nicholas [Hynter] who, besides being the director, is also director of the National Theatre is, I'd have thought, slightly more risky.
Film is a much lonelier process than theatre. You really don't have any rehearsal time in film. You don't shape it together... with theatre, there is a complete kind of family atmosphere. The sociable side of this business is the theatrical side, it really isn't the film side.
I was really, really, really enthusiastic as a kid. I was up for anything. I was hugely into music and theatre. I was a big musical theatre kid; I loved reading.
The script is the most important thing for me. I'm advised that other things are important too, and they are. The director that you'll be working with is hugely important, and the cast that are with you is really important as well. But, for me, the thing that gets my heart excited and really makes me invested in something or not is just the quality of the script.
I don't follow anything that's said about him much, but the Uwe Boll that I know is just a really cool guy. He's just a really quiet, kind and passionate filmmaker who really believes in what he's doing. Like any director that an actor wants to work with, you want a director who's passionate and believes in the work that he's doing.
Everybody understands that acting is a really difficult job. It's hard work. You've got to get dressed up, you've got to hang around with beautiful women. It's difficult. It's a problem.
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