A Quote by Leslie Caron
James Ivory comes close to the actors for the first rehearsal. He more or less lets you direct yourself and then will only correct you if he finds it incorrect.
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In this type of cinema, whether working with actors or non-actors, as much as you do direct them, if you allow yourself to be directed by them, then the end result will be much more pleasing. The real and individual strengths of the actors is allowed to be expressed and is something that does affect the audience very deeply.
Mistakes in judgment are the best teachers in the world, and if you choose to learn from them then you will begin to trust yourself and understand that, correct or incorrect you were decisive and moved on.
You can assert a fifth amendment privilege and not testify. But if you go in and swear to tell the truth, then you better do it. Otherwise, if a prosecutor finds that you have testified in a way that is factually incorrect and you had reason to know that it was factually incorrect, then you're guilty of perjury.
I wish I could sit back and say, 'Oh, I'm gonna wait for a Merchant-Ivory film to come my way. Or Ivory-Merchant. Whatever it's called. But you just take what's given and then, hopefully, down the road you can be more choosy and only do, say, Wayans brothers movies. That's my goal: to be more Merchant-Ivory-Wayans.
A good director creates a playground for actors, and lets them go. The trick for a good director is in casting properly, and creating the playroom, and then they'll get stuff that they don't expect, and can't even direct. All the audience wants to believe is that whatever is happening, it is happening for the first time. They want to see the people within the work exchanging dialogue and action in that moment. There are not a lot of actors that can do that.
Because if a woman can only direct women, and men can only direct men, and Black directors can only direct Black actors, then we are missing out on opening up voices to different perspectives.
I don't rehearse with my actors... the first rehearsal is the first time we turn the camera on... Sydney Pollack never rehearsed his actors, and I found out that's allowed... so you film reactions; you don't create them.
I think every writer has got to direct. If you don't direct, you can't protect your work. The only way to ensure that it's going to be as close as possible to what you put down on paper - and what you see and hear in your head - is to do it yourself.
Unless a man first finds himself, finds his own essential nature and destiny, and begins from them, all his efforts and achievements will be built only on the sand of personality, and at the first serious shock the whole structure will crumble, perhaps destroying him in its fall.
I've never been a puppeteer, I conceive and I write and I design and I direct. And not just puppets. I direct actors, I direct dancers, I direct singers, I direct films. I also direct puppeteers. I'm really a theatre maker, but there's not a word for that.
To govern is to correct. If you set an example by being correct, who would dare to remain incorrect?
The first job that I booked was a small role in James Franco's film 'Bukowski.' I had to make out with a 13-year-old kid. I think it was his first kiss. I was 15. I became so nervous on set that I actually fainted when James Franco came to direct me.
The only way to enjoy the fun of catching people behaving disgustingly is to have children. One has to keep having them, however, because it is incorrect to correct grown people, even if you have grown them yourself.
To direct actors is difficult. To direct actors in another language is more difficult, but directing non-actors in another language is one of the craziest things that I have done and one of the most rewarding experiences I have had.
'Mariah' was the first series-regular role for me, and that really came about because of 'Secret Honor.' That really was a direct result of that. Because now I had an agent and was submitted for that part, for James Malone. And... I was the casting director's first choice for James Malone.
I say that in narrative paintings one should mingle direct contraries close by, because they produce strong contrasts with one another, and all the more so when they are very close together; that is, the ugly next to the beautiful, the big to the small, the old to the young, the strong to the weak; in this way you will vary as much as possible and close by.
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