A Quote by John Landis
Truthfully, most directors don't direct actors. Every actor is different, so when you're asked, "How do you approach an actor?," it depends on the actor. With some, you do nothing. With some, you're very specific.
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Working with actors really depends on the actor. Most of the directors I've worked with don't really know how to speak to actors, actually; some of the best directors don't.
I guess you can say that every actor is a 'character actor' on some level. But I think some actors have a wider range. I think that's how you get that mantle.
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.
As an actor, I had noticed very vividly that very few directors know how to direct actors because they haven't done it.
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.
My story about becoming an actor is a completely non-romantic one. I became an actor because my parents were actors, and it seemed like a very... I knew I was going to act all my life, but I didn't know that I was going to be a professional actor. I thought I was just going to work as an actor every now and then.
In fact, Salman Khan is a kind of an actor who doesn't take anyone's limelight while shooting. He is a very secure actor. He has some kind of aura around him. He is least bothered as to which actor is getting how much screen space.
An actor is here to perform. For example, if a character is a Punjabi or a Bihari, and the actor is not, doesn't mean we have to cast an actor from that region. If an actor can perform, they can portray anyone because an actor is here to try different roles.
Every actor has a different temperament. Part of my job is to know what those boundaries are. The actor has to know you'll be there at the other end, that you're trying to represent them in the best light, who they are as they're harnessing these roles. The methods vary from actor to actor.
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.
It's the hardest thing for an actor not to speak because you take away their main tool. So for an actor, it's very frustrating and very challenging, and very few people can pull it off. Some actors can say a thousand words with just a look, and it's a unique gift.
An actor is an actor. There should be no labelling - mainstream actor, art film actor, serious actor, comic actor.
I would like to be able to be both a film actor and a stage actor - to be an American actor in the style of a lot the English actors who do films. They are these wonderful actors who can do everything.
I think directing yourself is a monumental task. Just to self edit as an actor, you work for some directors who don't give you a lot of feedback so you have to do that. That's a difficult thing to do as an actor.
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.
Every director is always directing around the play. If you have an actor who really doesn't get the character well enough, you have to direct the play around that character. You have to make choices with that actor. If you have an actor that really doesn't get the role and has certain visions of the role, sometimes you have to direct around that actor.
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