A Quote by Lake Bell
I've learned from every director I've worked with. Everybody's style is very different, and I always say that being an actor is the best film school that I could ever go to.
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Every film I've ever worked on, and that includes 'Braveheart' and 'Trainspotting,' I've always witnessed a director having a breakdown. Every director will have a day, without exception, where they just can't do it anymore, they don't know what to say to their cameraman, their cast. It's the sign of real, physical exhaustion.
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.
Ultimately your job as an actor is to perform however you're being asked to perform and there's many different procedures as an actor that you're going to run into that you should be prepared for and be ready to go to work and do the best you can and give the director the best thing you can to hopefully give him things on that day that could be shot preserved and out into a canned, then when they go into the editing room that's where a movie's made.
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.
I learned a lot from Clint [Eastwood], who's an extremely economic director. I learned a lot from Michael Winterbottom, who really gave a lot of trust in the actors and allowed them to live in the space instead of trying to manipulate and make it too set and too staged. Working with [Robert] De Niro taught me a lot of being an actors' director and what that is. I've learned a lot from pretty much everybody. Hopefully I've picked up something from everybody I've worked with.
When I started acting, my mom said, "If you want to go to film school and eventually direct, being on set is probably the best film school in the world." I'm incredibly grateful for the career I've had, but I was an actor to be a part of movies and TV, not the other way around.
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.
I was from a tiny little island, which I always say is one corn field away from a horror film: it was, like, isolated, and everybody knew everybody, and you go to school with the grandkids of the grandparents that your grandparents went to school with.
I had done it all in my career. I always felt, as a kid, that that's what a director needed to be. Hitchcock could do anything in my mind. He's the director. That person has to be the best actor, the best designer, the best cinematographer. Then I came to realize that isn't the case. You just need to surround yourself with the best.
Plans for a Spider-Man film had gone on for so long. It was starting to look like there would never be a film. There was always a different actor, or a different director they were talking about.
I worked with Michael Goode back in 2009. We had done a short film together where I was the actor and he was the director. We got on well and I always remember that being the one of the first acting jobs I did.
I take bits and pieces from every director. I'd say Sylvain [White] and Nimrod [Antal]. They were more about teaching me lens sizes and depth of field and how to move the camera and lighting. I do want to direct and I didn't go to film school, so having a director that are very much hands on that way and looking to let me learn, that is a key factor.
The only actor-director I have worked with in my career is my brother in his film 'Dillagi,' and he got the best out of me.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
I'm not saying to the kids yo drop out of school, education is the most important thing first and foremost. You know, my circumstances were a little different. I needed to work to help out so I couldn't be in school. Not only that, it was getting into trouble and all that s**t. I was getting into trouble more in school than I was out of school, so I had to just go ahead and make that adjustment, so I mean realistically I always tell everybody, in my case I don't got a high school diploma, but I have two Grammys so it kinda worked out best for me.
I learned so much about being an actor by being a director. More than I ever thought I would.
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