A Quote by Kelly Lynch
But actors at a certain point take the best of what's available to them.
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I think actors, at a certain point in their careers, decide they're either going to keep taking risks or take the exact same risk over and over again so that it's not a risk anymore. That's when I don't want to work with them. I think there are some actors who are just doing the exact same thing, and they will never shift from it.
The quality of Korean actors is actually quite high. Their passion is overwhelming but not many platforms are available to cater to their creative needs. They're thirsty for something new and I think that's where I connect with them. They have vision. In certain sense many Korean actors have better vision than directors.
At a certain point, you have to convince the actors that you've done the right thing. The way I work, if I can't convince them, I've got to move on. I can't coerce them or browbeat them.
My circle of friends are not actors at all. None of them are actors, really, because they're are not available. They're always off somewhere.
At some point, you realize your parents are human. They make the best decisions they can with the options available to them.
You can't draft for need. You draft for need, you get fired. Draft the best player, and if you've got two of them now you've got three of them. Just take the best players available for you.
I just never really thought of not being involved, because when I write the songs I take them to a certain place and by that point I kinda know what I want them to sound like.
An awful lot of actors who are considered very good actors are not very good actors. There are people who just strike gold, they have intrinsic talent, but the point is that if they did train, it would not inhibit them. If they were with a good teacher, it would only broaden them more.
Some of the best actors in the world are very exterior actors, Anthony Hopkins being one of them. He knows exactly how to turn his face to get a certain expression. He knows exactly what to do with eyes, and with his voice. It's very exterior.
A lot of the times the first take was the best, because the actors are not analyzing themselves as much; they just do it. I believe in happy accidents and I'm not necessarily into actors getting the dialogue exactly as I wrote it; I'm much more into them understanding the motivations and have it come out in a natural way, and maybe catch something that I didn't expect.
As actors you're always going to take certain roles that are in your comfort zone and take ones that aren't.
Particularly, the actors, to have analyzed the script in great detail from the point of view of their specific character. So that they have a handle on exactly where the character is in the chronology of things. In that sense the actors become your best check on the logic of the piece, and the way in which it all fits together. They become essential collaborators. The main thing is you have to work with very smart actors.
As a director, you have to know what actors are doing. You're the one telling them what to do. The actors' job is to come prepared to the set, but sometimes, if they're beginning actors or people who are non-actors, you have to teach them how to act.
I make my life with New York stage actors, and I love them. They're the best actors on planet earth.
There's something about actors - not stars, but actors - if they have the character, and someone is pushing and shoving them to be the best they can be, they enjoy that.
I always try to approach things from the point of authenticity. I've done that for my short films, working with non-actors from the real environments where you go exploring and placing them into the cast alongside professional actors.
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