A Quote by Peter Mullan
A lot of actors aren't particularly good directors. And they're not particularly good with other actors. That's kind of a fallacy.
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I hate to say that, but the past was much more fascinating. I don't particularly care for any of the current crop of actors. I don't particularly care for any of the current crop of directors. But I have a lot of friends who are editors, and there are a lot of technical things going on here that are interesting.
There are plenty of bad actors and there are plenty of bad directors. There are actors who will always be bad and there are good actors who you cry for because they're being badly directed or the material isn't good enough.
I love working with the same actors repeatedly. That happens a lot. It's kind of inevitable, especially if you work with the same writers and directors and you start to form a company of actors. You gravitate towards each other.
The hardest thing to do in movies is be a day-part player. You have to go in, make your mark, and get out. There's a lot of leading actors who are not good for a lot of a movie, and then suddenly they have good moments, and they're like stepping-stones across a particularly feisty stream. They build careers out of that.
For female directors, there's a whole other set of things we have to think about, particularly when we are casting men, because there are some actors who have never been directed by a woman. Crew members, too.
No, we are not tyrants on set, and we are kind of come at it very much as collaborators and not just with each other but everybody and particularly the actors.
An awful lot of actors who are considered very good actors are not very good actors. There are people who just strike gold, they have intrinsic talent, but the point is that if they did train, it would not inhibit them. If they were with a good teacher, it would only broaden them more.
With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.
I like working with kid actors because they surprise you constantly. I mean, all actors do - but kids particularly.
I think that some of the writing, directing, and the content is better than a lot of movies sometimes. Actors, well artists in general - actors, writers, directors - what we all care about the most is good work and being able to create something that is really resonant and meaningful.
Winning an Oscar attracts the attention of directors and other actors and creates a boost in salary, particularly for someone like Halle Berry. For an established star like Denzel Washington, the benefits are less tangible.
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.
I know that some actors and directors like to have intensity on set. I don't, particularly. Certainly, if they want that, that's fine, but I can't work like that.
As for the Canadians - good actors and good directors are sometimes taken by the American market, you know, if they're good enough.
I think more than comedy, probably more than straight drama, I like horror. And horror I think I'm particularly good at. It's a mistake a lot of directors make, especially young directors. They always want to make the kind of movies that they most admire and aren't necessarily sensitive to what they have the best skill set for.
Actors know how to talk to other actors in a way that sometimes other directors just don't.
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