A Quote by Nia Long
I'm working on a project called Lemons, produced by Killer Films. The director has a great perspective on character development.
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I love working with new directors. There's so much drive and effort. It still comes down to the character for me, but if it's a character I really want to play, I would never not do the project because of a new director.
Actors always direct themselves. A good actor shows up onset ready, especially in television, and you've done your homework and you know your character. The director may have some variation on what you're thinking or they may have a different interpretation of the scene. So you come prepared to shoot and you've given yourself notes. In television, it may be the first time you're meeting this director and you've been living in this character's skin for a couple of years. It's always great to have fresh perspective and fresh insight, but no one knows your character better than you do.
I guess confidence is the only thing that I take from project to project, but I'm always open to learning everybody's style - the director, the actor I'm working with.
I'm working on a few different films and I'm just searching for the right new story to tell. As a director, you just have to kind of like just get through the first project before starting on the next one.
And one of the funnest things was watching what they did before the director called action and after the director called cut. And they'd keep their hands in the puppets, they'd stay in character, and then they'd start goofing around with each other and be off of script, and it would get quite blue.
It’s not what happens to you, but how you handle it. If Life gives you lemons, make lemonade. If the lemons are rotten, take out the seeds and plant them in order to grow new lemons.
I tend to project my father figure onto any director that I'm working with, or mother, if I'm working with a female, or it can be confused.
For actors, when you first get the project and you see that it's a Steven Spielberg, Tom Hanks and Gary Goetzman-produced project, right away, from an acting standpoint, you go, 'Wow. That'd be great to be part of that. What a career move that'd be.'
Mel is a great director because he's not just a director, he's an actor, so he knows how to direct actors. I loved working with him. He's great as a director. He's so intelligent. He's generous. I really loved him.
I used to produce years ago when I feel like. I produced myself, Bounty Killer. That was the first set. Then I did a Bounty Killer, Lexxus, Spragga Benz, Sizzla, a whole lot of artist.
When I'm making documentaries, I think a lot about how fiction films play. I want them to have the pacing, the twists and the character development of fiction films.
When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
There have been discussions of doing 'The Demon Cycle' on both large and small screen scale, and while there is no project currently in development, I think the series has both the big imagery and complex character development to have legs either as a TV series or film franchise.
It's a fact, the majority of films in Hollywood are from the male perspective. And the female characters, very rarely do they get to speak to another female character in a movie, and when they do it's usually about a guy, not anything else. So they're very male-centric, Hollywood films, in general. So I think it's incredible that Ned Benson, when I said I'd love to know where she goes, says okay, I'm going to write another film from the female perspective.
I feel that Pride and Prejudice is an incredibly well constructed novel on every level. The dialogue is great. The character development is great. The plotting is great. The pacing is great. The language is great.
I aspire to be an instrument of the director. I'm happiest like that. The stronger the director, the more I'm willing to give them. It's not just about admiration for their films, it's how they deal with you, and whether they get you or the way you work. If they don't, you better adjust your way of working to suit them. I want to work with people who are good at what they do, and people who are passionate. As you get older, you suffer fools less easily. That's why there's all those cranky character actors. I'm an exception. I'm a sweetheart.
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