A Quote by Roger Allam

Be ambitious. The great actor, director and playwright Ann Jellicoe commissioned writers like Howard Barker and David Edgar, and put on magnificent, large-scale plays in Dorset that involved the whole community.
David Mamet we all know is a great screenplay writer and playwright and a great director. If you like him, you like him. If you hate him, you really hate him. He's someone who's into controversy, you know what I mean? That's David Mamet.
'Ides of March' I did for scale - scale as a director, scale as an actor, scale as a writer.
I'm very old-school. I like a director to direct me. I like to be the actor. I'm not particularly fond of the hybrid writer-director, or actor-director. Writers, directors, actors are all such very different people. I think it's unusual that two of those people are in one human.
I like writers who seem to write because they have to. You get the feeling of this burning desire to tell a story. I find it in Peter Carey, Nicola Barker, Ali Smith and David Foster Wallace.
David Anspaugh, who was my first director, on 'Rudy,' was all about empowering the actor, making you feel comfortable and appreciated, allowing you to keep your dignity, and treating you like a man. Being treated like a grown-up makes you proud to be involved in a film.
Yes, there was a massive difference between their styles. David is a very technical director and Chris is an actor's director, in the sense of emotion. With David, he's done horror films, so Eclipse is much darker, whereas I found New Moon really light and poetic. I didn't have as much interaction with David because the casting process was already done.
When I was in the writers' room, all these writers were like, "Ugh, another star that they gave a writing-producing credit to." But then within like an hour, they were like, "You're really a writer." "Yeah, I really am. I'm a writer, and a director, and a producer, and an actor, and a painter, and I do all that stuff in the Lush Life." It was great.
When there's an actor involved, the actor's talking to the director or the director's talking to the actor. But when there are not those two people interacting, it's all one person in your own mind, you have to be so extra-clear about what you need.
David Boreanaz is actually a very good director and he directed one of our episodes. Excellent director, knew exactly what he wanted. We never had long days with David. He was great, he knew exactly what he wanted and he's a fantastic director.
Theatre is an actor's medium though behind the stage there is a playwright, director and perhaps in some, a music composer too, yet the actor is the one who ultimately tells the story to the viewers.
I never understood how one could write a whole book: It is so technically challenging, and it's incredible the way writers put entire worlds inside of them on such a large scale. I tend to have that same feeling when I listen to music - it daunts me and makes me feel quite unsettled listening to so much talent and ambition.
I've always thought Ed Burns was a profoundly underrated actor. He's a great director, obviously. A great director/writer. But I think he's a stunning actor, too.
I was obsessed with theatre and loving the work of Caryl Churchill, Edward Bond, Howard Brenton, and Howard Barker, people doing real formal experimentation. But 'Road' was the first time I'd read a play written in a very true Northern dialect that seemed to have that excitement running through it.
If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.
I learn a lot as a director from acting in other people's films and just in general. I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer. Basically, I like to help and be involved, so anything anybody asks me to do, my first reaction is to say "Yes."
One is just an interpreter of what the playwright thinks, and therefore the greater the playwright, the more satisfying it is to act in the plays.
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