A Quote by Julia Barr
When you see something that is well-written, the actors can get behind it.
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Basically, I would like to be considered for roles that are well-written. I think that part of the problem that we've had as actors is that they insist on looking at us as Latino actors and not as actors, period.
When you're a working actor you see a lot of scripts all the time, but to get to do something that's really well written it's a rare privilege.
A lot of actors, we aren't that special; you get a well-written scene, and it's virtually actor-proof.
You know that something is really well written when you have to think so little about the words that are coming out of your mouth and you're able to dwell in your own headspace to get there. It's very easy to recall and remember because it's written so well.
My experience over the years with working with people who are not actors or not trained actors is that you have to get to know them well enough to see what they have that's translatable onto the screen.
You have to fire yourself as the writer when you direct something you've written. You have to fire yourself, or else you get precious about what you've written. You've got to open up and let the actors in, and re-conceive a lot of things.
I have a repertoire of songs that I'm proud of, that I've written for my own band. When I do a cover, something that somebody else has written, I think about it very carefully before I sing that song. I have to really get behind it and understand it and like it. And that's how I pick roles. I don't want to play just anything.
The path to achieving your goals, as an entrepreneur or as part of a company, is just as important as reaching them. That's something I hope men can see as well. If you're going to be stepping on people to get there, that's not good. It doesn't matter if you get there if you leave a path of destroyed people behind you.
If it's well written and well directed and you've got good actors to work with, acting is easy. But making sure all the ducks are in a row is the hard part. It's very rare.
If it's well written and well directed and you've got good actors to work with, acting is easy. But making sure all the ducks are in a row is the hard part. It's very rare
I want to aspire to something like what Denzel Washington does, which is try to find scripts written for white actors - or Jodie Foster, who reads scripts for male actors.
Applause is interesting, but I'm a monster with or without it. Something is either well written or it isn't. 'White Rabbit' is not well written, and no amount of applause or royalties can convince me it is. I could have done a better job with those lyrics. They didn't say what I wanted.
My experience over the years with working with people who are not actors or not trained actors is that you have to get to know them well enough to see what they have that's translatable onto the screen. So you're constantly calibrating to play to their strengths. And the key is to never ask them to do things that are beyond their abilities or are really far away from who they are at their core.
I love directing because you get to see your film come to life. You get to work with the actors. There's something magical about each piece of it.
I definitely want to produce more because I have a bunch of projects that I've either written or half written and I want to continue developing them and if cant direct one right away cause I'm doing something else I will love to still see it get made.
Most scripts are written to be green lit. They're not written to be acted. And a lot of writers with the greatest intention in the world don't write for actors. They don't understand the architecture of what an actor needs to get from point A to point B.
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