A Quote by Marianne Elliott
A bad audition is usually the director's fault, not the actor's. It's up to the director to get the atmosphere right to get the best out of your auditionees.
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When you get confidence from your director, as an actor, it is all a matter of how your director says, 'This is how much I can get out of you.'
As a director, it became important to hear that specific role read by that specific actor, and you hear the chemistry, or you don't hear the chemistry. So I'm not so bothered by the audition process anymore; in fact, I use it. It's a time for the actor to actually get to the know the director and the producers a little bit, too.
I love the variety of films. In theater, you go into a room and the director runs the room, so you all work to his or her method. On film, if an actor or an actress is in for a day or two, the director has to get out of that actor what they need, so they have to change and adapt to that actor's technique.
Some people work very closely with a director or a producer on something, and from the get go, they're collaborating. But typically, it's just go in for an audition, do the best you can, and if the phone rings a couple of days after the audition and you get the part, that's great.
You have to get the casting right. You have to get the people behind it. Your director might not be the right director for the project. And then, it has to test and those people in that room, wherever they are, have to turn those buttons the right way at the right time.
One of the challenges of being a director is often you don't get to work with your peers. You know, writers can write together, and as a director you get to work with so many wonderful actors and writers and designers. But it's pretty rare that you get a chance to partner in that way with another director.
When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.
I think each character is different for me, but I am a director's actor. So if I get the right vision and right guidance from my director, I think sky is the limit for me.
I've had friends who have come away who've said, "I shouldn't have become such close friends with the director." You always want to get on with the director, but I personally prefer a relationship where you respect them - you get on really well with them, but they're boss, as it were. It's about trusting your director, for better or for worse. They're the one's seeing what's coming out on the monitors, so you have to try and trust what they say.
As an actor, you get into makeup, you get into hair, you come out of your trailer, and you hit your mark. As a director, you're the first one there and the last one to leave.
As a director, I do very few takes, because I feel like you hire the right actor and they'll do the job right. And the directors that I've worked with and had the best luck with - Jason and [ Steven] Soderbergh and the Coen brothers - all have been that kind of director.
As an actor, when you walk into a room to audition, you get five minutes with a casting director, who doesn't even look at you, most of the time.
I'm not so bothered by the audition process anymore; in fact, I use it. It's a time for the actor to actually get to the know the director and the producers a little bit, too.
I don't think it's necessary to be an actor to get great performances out of an actor. But I do think it helps me as a director because I know what I like as an actor, and I try to get that to the actors who I'm working with.
The real work of an actor goes on inside, and I don't think it changes from director to director - I always go for broke! But I don't get a lot of direction, unfortunately.
I think every director has a different take, some are good, some are bad. The directors you get on best with sometimes don't make the best films, so who's to say who is right.
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