A Quote by Ridley Scott
Some actors - you work with them once and don't even think about working with them again.
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For most actors, it's such a struggle to get work. Once they have it, they feel that there's an enormous amount of pressure on them to make it work, and have everyone love them. In my case, it was never like that. It was just about working with the people that I want to work with, and telling the stories that I want to tell, you know?
The most important thing is that, when you work with somebody, you build a rapport with that person. They have a certain trust in you. You don't have to explain that much. It's very hard when you photograph someone who's a fresh face and then you don't work with them again for six months. All these people I work with over and over again have qualities that I love. There's something very free about them or there are some slight imperfections about them. I think the more you work with someone, the pictures get better and better.
All the actors I respect, especially old-Hollywood actors, the reason I think so many of them have had long careers is that there is a sort of mystery about them. You don't know what they do on Friday nights when they go home from work. You have no clue. You have this sort of fantasy about them.
What I mean is this: you meet someone, you think about them. You're already changing because of the way you think about them. You meet them again, you think about them some more, you're changing again. And on it goes. You are changing right now. Before my eyes.
I feel that I'd rather know an actors' work, or have an instinct about them and sit down and have coffee with them, or I'll see them in something and I'll see if I can get along with them in some way, shape, or form.
I do think that I'm a big believer in having an idea or having ideas and just tucking them away in the back of your brain. Even if you aren't consciously thinking of them, I think they simmer. You're working on them, even if you don't know you're working on them, and I think having something in your head for a while is a valuable thing.
You work with every actor differently. It's like if you're a mother, if you have children, some children need more discipline. Other children you back off of a little bit and let them be. It's the same way with actors. Some actors need a lot of hand holding. Other actors like to be let be and you let them go. Some actors like to be nudged just a little bit. Some actors don't mind line readings.
For some reason, I seem to work well with actors. I love working with them.
I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that; they're actors, not writers.
I think actors, at a certain point in their careers, decide they're either going to keep taking risks or take the exact same risk over and over again so that it's not a risk anymore. That's when I don't want to work with them. I think there are some actors who are just doing the exact same thing, and they will never shift from it.
For most actors, it's such a struggle to get work. Once they have it, they feel that there's an enormous amount of pressure on them to make it work, and have everyone love them.
In your life you meet people. Some you never think about again. Some, you wonder what happened to them. There are some that you wonder if they ever think about you. And then there are some that you wish you never have to think about again. But you do.
You hear stories about directors using manipulation to get actors to do certain things, but I think when you're working with professional actors, it's all about trust. They can do anything you want, it's just a matter of them understanding what you're looking for, and the reason why.
If you notice phrases, ideas, and anecdotes that closely resemble those that appear elsewhere in my writing, it's not a matter of sloppy editing. I'm repeating myself. I'm reshuffling words in the hope that just once I might say something exactly right. And I'm still wrestling with dilemmas that are not easily resolved or easily dismissed. I run at them again and again because I am not finished with them. Any may never be. Work-in- progress on a life-in-progress is what my writing is about. And some progress in the work is enough to keep it going on.
I don't think it's a prize when actors and directors or writers and actors work together more than once. You have a trust and a shorthand and a lot of times you even reach the point, where in the process, you don't even have to talk.
You work with every actor differently. It's like if you're a mother, if you have children, some children need more discipline. Other children, you back off of a little bit and let them be. It's the same way with actors. Some actors need a lot of hand holding. Other actors like to be let be, and you let them go.
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