As actors, we have the opportunity to work with many directors. Directors only work with themselves and other actors. They never know what it is like to work with another director. So that relationship that one has with a director is entirely always the king.
The actor's relationship to the crew is really a big dynamic that influences everything. When actors are assholes, it becomes problematic. When actors are great and sensitive and prepared, it makes a huge difference.
To be able to work with actors who are doing such good work, not only makes it easier for you, but it makes you better.
The caliber of actors I'm getting to work with and learn from on a daily basis is phenomenal for me as a developing actor.
Actors are intelligent. Yet, many of them do not communicate well. That's what makes it so hard to have a relationship with one.
Developing films with directors, developing films with actors, is a poor percentage play for a screenwriter.
We really enjoy that, having a relationship with writers, developing material and getting a director, actors, that we have kind of that family kind of as a group we're going to do it together mentality in a project. Then the tough part is - so what actually goes has very little to do with us sometimes.
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.'
When you're in a relationship with a photographer, and they start abusing that relationship and being like, 'I want you to do this, and I want you to do that,' it makes you go, 'No.' I didn't want to work all the time.
Actors can be very precious about their work and their scenes, but I think good actors have a strong understanding of narrative and are very often not as precious about that stuff. They just can't be because they understand what makes for a better film, and that it's the job of the actor to work toward that, and then if you want you can go to acting class or workshops. But making movies is not workshops.
In a romance novel, the core story is the developing relationship between a man and a woman. The other events in the story line, though important, are secondary to that relationship.
All of your stakeholders have to have the right seat at the table, and they all have to be successful. It's hard to do, but you have to keep your eye on developing a meaningful relationship where it is beneficial for them. Then you work backwards from there.
I like to work and there's no movies for actors, period, especially black actors. When white actors are like, 'Man, there's no work out there,' then black actors are like, 'Are you kidding me?'
Most actors and actresses are performative as people. It goes part and parcel with the profession and New York actors who are out of work, or actors anywhere out of work, are manic because you never know when the next job is going to come.
I love actors, both my parents were actors, and the work with actors is the most enjoyable part of making a film. It's important that they feel protected and are confident they won't be betrayed. When you create that atmosphere of trust, it's in the bag - the actors will do everything to satisfy you.
Developing aesthetic sense is vital for actors. They must understand that there is no small role, only small actors. A good actor will do the smallest role to perfection, and be recognised.