A Quote by Michael Arden

I think all my favorite directors have acted. They understand how an actor thinks. — © Michael Arden
I think all my favorite directors have acted. They understand how an actor thinks.
I think one of my favorite directors is P.T. Anderson - living directors, I should say. And Spike Jonze is one of my favorites, Gus Van Sant.
Stoller is one of my favorite comedic directors - one of my favorite directors that I've worked with to date.
With the films I've done, I've written on them, I've acted in some of them. And even ones I haven't acted in, I've acted them out just to be sure another actor can do them.
People are mystified by it and so they kind of think, the acting community thinks they're gonna be replaced by CG characters and animators think they're gonna be replaced by performance capture (and) a lot of directors, particularly European directors, who have no experience of it.
Truthfully, most directors don't direct actors. Every actor is different, so when you're asked, "How do you approach an actor?," it depends on the actor. With some, you do nothing. With some, you're very specific.
I feel there are only well acted or badly acted roles and no such thing as a good actor or actress.
I think directors can be a little insensitive to how vulnerable an actor is, when he's giving a performance. Part of the job of an actor is to invite scrutiny, but with that, the people around them have to nurture that and put them in an environment where they feel safe and they feel like they can risk something.
Female directors, directors of color are a big thing for me, which are both important voices and potent voices that need to be heard. That's how I want to engage myself as an actor going forward.
I don't come to work as an actor. There are many directors who can direct without ever having acted and do a great job and connect with their actors and lead them to excellent performances without themselves having had an acting background.
I always feel like I learn more from directors that are new, and I also am able to understand how much I really do know about filmmaking when you work with directors that maybe don't have as much experience, so you're able to sort of take the reins. I know how to do these movies, I've done so many of them and have learned from new directors who are usually willing to try new things and are more open to allowing someone like me to kind of come in and just do what I know how to do.
In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
Working with actors really depends on the actor. Most of the directors I've worked with don't really know how to speak to actors, actually; some of the best directors don't.
I've always felt it's the directors purview to say what; it's the actor's purview to say how. It's not good for an actor to have the big picture in mind - it bollocks you up. An actor's purview is the tiny little... We measure our performance in seconds.
Directors don't get to see other directors at work - they're the only one on the set. I've met directors who've asked me what another filmmaker is like. So, there's probably nobody better placed to make all the comparisons and to pick up stuff than an actor.
When you do improv, you're everything. You're a performer, writer, and director, because you're moving the scene in the direction you want it to go, you're making it up as you go, and you're acting it. You're all of those things, so I always viewed myself that way. And with the films I've done, I've written on them, I've acted in some of them. And even ones I haven't acted in, I've acted them out just to be sure another actor can do them.
I think directing yourself is a monumental task. Just to self edit as an actor, you work for some directors who don't give you a lot of feedback so you have to do that. That's a difficult thing to do as an actor.
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