A Quote by Peter Mullan
I'm not a huge kind of visual director. For me, it's all about the acting. There's no greater buzz than working with actors and seeing what they can do and how much they can improve on what you'd written. That will always be on the top of my list. It's a real privilege to see it live before anyone else sees it.
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YOU WILL ALWAYS BE THE ONLY ONE FOR ME ' - I always want to be with you more than with anyone else. I always want to talk to you before anyone else. I always want to laugh with you * walk with you ? * read with you * play with you * be quiet with you * be noisy with you make plans with you discuss the past and future with you You will always be the person who makes me happy, content, excited and peaceful No matter how much time passes our love will not only prevail but it will be stronger than ever.
It's a tremendous asset if you have a visual eye because you can make huge visual statements in a very theatrical way and play to the strength of theatre. But the high end of directing is working with actors and making the acting the best it can be.
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.
We have so much access to one another through technology and everything else, that we're very much used to people being real. When folks go on TV and they're basically acting - if they were good actors they'd be acting and paid for it for a living, but they're not good actors. When we see bad acting, it doesn't look like bad acting, it looks weird, and we are turned off by it. I'm not talking about anybody in particular, that's just politics right now. This generation, I feel like, has incredible bullshit detectors.
Actors become actors because they loved entertaining their family by putting on the lampshade and dancing around as a kid, ... That's not my personality. For me, the fun part of making movies is seeing it as a director sees it. I like the architecture of movies. I like knowing what's coming and working to set that up.
My preference will always be theatre because it's where my heart lies and it's what I started with and eventually I want to direct it. It's where my real interest is. But I just love trying out new stuff. Acting for me isn't just for me about being in front of a camera ... it's so much more than that. It's always about telling a story and there are so many ways of doing that, so I'll always want to try something else.
When Orson Welles was acting in 'Compulsion,' the director Richard Fleischer let him just take over and direct the courtroom scenes. To be able to see Welles - who knew more about directing than anyone - direct himself and the other actors, it was unbelievable and unforgettable.
J.J. Abrams is a director with no ego. He is a director who has a very consistent attitude when he's at work. He's funny, he's brilliant, he's a combination of all these really great things. J.J. is the kind of person who sees the bigger picture before anybody else does. It sounds simple but not all directors do that.
I like looking at the characters. Seeing them always brings up some voice or attitude. I am much more visual, and that works so much better than having someone tell me what the character is all about.
I've always noticed a difference between working with a director and working with a writer/director. In how much they're invested and how specific they are.
I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.
I'm baffled when young actors aren't familiar with current film, television and theater, or aren't interested in older films or plays and the history of the craft in general. If you don't know what's out there, and what came before, then how can you picture yourself working, and how can anyone else?
I've always written songs with a visual counterpart in my mind that no one else can see.
If the audience gets everything, if they see the photography and notice that it is good, then the story goes out the window, but if you become involved with the lives of the actors and forget that you are seeing mechanical devices on a huge screen - forget the make-believe - this is the job of the director to involve the audience with the actors.
The history of Test cricket will suggest if you hold the top of off longer than anyone else you will have success, in England particularly it's about owning the top of off.
I skate a lot with my shirt off, so working out has always been important to me. I almost have as much fun working out as I do skating. And seeing your body change, and seeing yourself get bigger and more toned and cut, makes a big difference in how you feel about yourself.
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