A Quote by Robert De Niro
When you are working hard, you don't have time for anything other than what you are doing in the scene and what the director wants.
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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.
All directors on all sets behave slightly differently depending on what the scene is. For example, if you are doing a love scene, which is intimate then the director is likely to be intimate. If you are doing a scene where everyone is mucking around and laughing then the director is likely to start with that. If you are playing a scene which us incredibly heavy and everyone getting killed then there are probably not many laughs on the set.
I like a director who is very observant and is watching what I'm doing and noticing what I'm doing but is giving me time to figure it out. They don't jump right in and give you a note before you've had time to really search on your own with how to do a scene. I like a director that encourages me to be playful.
I like working with a first time director. I'm more likely to work with a first time director than I am a second time director.
I think one of the things you have to be aware of as an actor is that if you come on the set and see the director standing there mouthing all the words while a scene is going on, that's usually a very bad sign because it means the director has already shot the scene in his head. He knows exactly the rhythm and the nuances that he wants delivered in the line and you're not going to dissuade him.
I think there has only been one time in my entire career that I've ever gone back to shoot a scene. And it was a scene that, when we were shooting it, we knew that it wasn't working. We knew there was a disagreement between the actor and director. So, we went back.
I like a director who is very observant and is watching what I'm doing and noticing what I'm doing, but is giving me time to figure it out. They don't jump right in and give you a note before you've had time to really search on your own with how to do a scene.
Don't ever, ever, believe anyone who tells you that you can just get by, by doing the easiest thing possible. Because there's always somebody behind you who really wants to do what you're doing. And they're going to work harder than you if you're not working hard.
Sudheer Varma is very easy going and very confident director. He knows exactly what he wants. He has a very good vision and knows how many shots he wants for a scene. He is super fast. He gives freedom for actors to try different things. The atmosphere on the sets was never serious. We had great fun working together.
One thing that I have learnt from many senior actors is that you can never take anything for granted. Whether one is working with the best director or a first-time director, every experience teaches you a lot.
An expression of feeling isn't worth anything unless it interferes with what the other actor in the scene wants.
If you're working with a director you trust, you can turn that part of you off that wants to direct other actors in a certain way.
And I think more than anything else, I know when I go to bed that no one's working harder doing what I'm doing, and I think, quite frankly, simply that hard work at some point was gonna pay off.
I don't follow anything that's said about him much, but the Uwe Boll that I know is just a really cool guy. He's just a really quiet, kind and passionate filmmaker who really believes in what he's doing. Like any director that an actor wants to work with, you want a director who's passionate and believes in the work that he's doing.
I have a hard time working with other people with my own songs because I have a pretty complete idea of how it should be. It's usually just me multi-tracking which is better than coercing someone into doing my idea.
When you're working on a scene, both in the script phase and also in the moment, you look around and you wait for the lightning bolt to strike you and based on your instincts tell you what the right thing to do is here. And that can result in anything from a change of dialogue to the realisation that what you thought was a dramatic scene should actually have some humour. And maybe if you stage it this way it's funnier, or if you put the camera here it tells a different story. That stuff is kind of everything when you're a director.
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