A Quote by Michael Shnayerson
Directly after Rock Hudson's death came the fears that gay writers and actors and directors would be denied jobs; who knew if they would live long enough to finish a feature film or television series? And would the unions force directors to give blood tests and ban actors who tested positive?
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When I first started out, it was very, very difficult to even get in the room with directors or casting directors because they would see that I hadn't been to drama school and wouldn't want to see me. Now, I feel like it's changing. We have this new generation of a lot of writers, directors and actors who are just breaking through, and they're doing it for the passion.
All the characters play an important role. For me, as an actor, for my character to come out so beautifully, I would give all the credit to my co-actors, directors and writers.
I think film is a world of directors. Theater is a world of actors. Or, theater is for actors as cinema is for directors. I started in theater. Filming is as complete as directing film. In theater, you are there, you have a character, you have a play, you have a light, you have a set, you have an audience, and you're in control, and every night is different depending on you and the relationship with the other actors. It's as simple as that. So, you are given all the tools.
There's certainly enough writers and directors and actors who secretly aspire to make movies and films that agree with the center-right perspective, and I would argue the majority perspective in America.
Somehow I got to be one of five or six actors that the directors would use as guinea pigs at this directing colloquium, where people pay to listen to and watch the directors direct.
I would not like to direct, I would be one of those terrible directors who can't help line reading the actors their lines, because I would just want to be doing their parts.
I could make a long list of writers and directors and actors I would love to work with, but the exciting thing for me is the unknown; getting an email through with a new script attached, or meeting someone who is trying to make something.
I worked in feature film casting right out of college and spent a lot of time working with actors, directors, and producers.
"Prison Break" has been a really great experience because of the writers. I think that in television, you can have great directors, really good actors, but if it's not on the page... I think a series lives and dies in writing.
Most writers have no idea how to make a film. It's a totally different skill set. Nor is it just to translate exactly what's on the page directly on to the screen - because that would be terrible. It would be five hours long, and the structure would be a mess. But the writers know the characters and the story.
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.
Television can become a bit of a treadmill for directors. You come in, nobody knows you, the actors are already doing what they're doing, and you're just one of a number of directors who comes in.
I would say that maybe directors who act as well are easier with actors. I'm not saying that all directors have this, but sometimes you'll come across a director who sort of looks at an actor a bit like a kind of untrained horse that's been let out of the stable, like they might buck him.
There are directors, and I think this is true of all directors, it would be true if I was a director - If the actor didn't want to do what I was suggesting, I would let him do it his way, and then I would say to him, "Just give me one where you do what the director wants", and that, of course, is the take that's used.
When movies work or a TV series, when they really work, it's because of the collaborative effort. Competition is the death knell for anything, in my opinion. Especially in Hollywood. When actors are competing against each other, or when directors are competing against actors, it's usually the beginning of the end.
Most Chinese filmmakers grew up watching television; they watched films on television, not in cinemas. The scope of their vision is not big enough, they're not yet detail-oriented enough. You have to watch films in cinemas for years to understand the depth and scope of vision needed in filmmaking. Directors in China usually come from an academic background; they graduate as film directors. Whereas the directors from Hong Kong learn their trade on sets, beginning at the lowest rung.
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