A Quote by Peter Hedges

I've always written for actors, and if you want to write for good actors, you have to write parts that are surprising, that are human, and that allow them to go to a wide range of places.
I don't really write with actors in mind; I write with characters and then hope desperately that we can get good actors to play those parts.
If you start writing to an audience you're talking down to them. I've never written for any age group, I just write character. If you can capture that you'll get the audiences, and it will be a wide range, as it is for 'Twilight,' it's a pretty wide range.
Actors always have to fight for the good parts. There are so few good roles written for women each year, and when one is written like this every actress in town covets the role.
Actors do want to work with me and I'm very grateful for that, but you never know. I could write parts for them that they don't want to play and then all of the sudden they don't want to work with you that much.
I get bored at the theatre a lot because I notice that there's not always a connection between the actors. They may be technically proficient, but they're not surprising each other. I'm thrilled by actors who make choices that are surprising.
I like to write for actors I know and with whom I've worked before. You can write to their strengths and weaknesses and write roles that are better suited to them.
I don't really write with living actors in mind. I guess I write for dead actors. I'll think of like, you know, Burt Lancaster would be good in this part, and so on. With 'L.A. Confidential,' it was like, 'Wouldn't it be cool if Dean Martin played the Kevin Spacey part?'
We write and write and write until we think, 'If we have to shoot this script, we'll be happy, and it's going to be a great movie.' I meet with all the actors two weeks before, and I ask them, 'What lines don't work? What is uncomfortable for you? What jokes do you think aren't good? If you're not getting it, here's what the joke is.' You fix it.
The least amount of info actors get, the better. Actors are always like, 'What is my motivation for this?' You didn't write it. Just say the lines.
The fact is, as actors, everything we do, bad or good, is a contribution. To me, it is a positive thing to give people as wide a range of human behavior with some sense of understanding of that behavior or some clue to it.
Because I produce a comedy festival and because I write and all of that stuff, I've seen the relationship that actors can create, in a bad way sometimes, with the rest of the people they work with. I just want to be a good representation of, 'Actors are great! They're not what some people might think they are.'
We definitely did not write our own vows. We're actors - people write things for us. We're not good enough for that.
I think my experience as an actor helps me to write anything. It certainly helped me to write 'August Osage County.' It helps me to write any play that I'm working on because I think one of the things I do well is write good roles for actors.
Brad Pitt is a dude who just wants to make good movies. He's not afraid to surround himself with the greatest actors, which I always appreciate because I've also seen actors who only want to surround themselves with weak actors because it makes them look better. That ends up making a poorer movie.
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.
A lot of black actors will sit there and go, 'Every role is about being a gangster' - then they get an opportunity to write a script and they write about a gangster. You know... write about a superhero.
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