A Quote by Sam Neill
You never really know who you're going to be acting with, but that doesn't really matter. 99% of the actors I've worked with, and they number in the thousands, I've liked.
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When I got into the movie business, working with actors was the one thing I was really weak at. I didn't know what to say to actors. They scared me and intimidated me. The actors that I've worked with who have had a lot of experience, or who I've even grown up watching as a kid, were really scary. I was like, "What am I going to say to this person?" But, I've matured. It's fun. I understand what actors do now.
Working with actors really depends on the actor. Most of the directors I've worked with don't really know how to speak to actors, actually; some of the best directors don't.
I liked Augustus Waters. I really, really really liked him. I liked the way his story ended with someone else. I liked his voice. I liked that he took existentially-fraught free throws.
Funnily enough, when I was leaving school and they asked you what you were going to do, and I just liked acting, that's never what I would say. I would always say I would go into business, even though I didn't really know what was meant by that.
I know a lot of parents of kid actors I've worked with have pressured them into acting, but my parents are different. I'm really lucky to have them because they let me make my own decisions.
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.
I've done interviews with actors who I've worked with who I really like, and I'm like, "Wow, look at you. You're just going on . . . You don't even know what you're saying!"
I never really had a chance to know the players individually... I thought when they were on the floor, they worked hard. But I never really got to know them.
I've never really worked out this thought, and I don't know if I'm really conscious of it, but I can see there's an attraction about writing about a period that's over and isn't going to change colour while you look at it.
I've never been that comfortable with the acting thing. It's difficult for me to separate what's really going on. If there's kissing, that's kissing. I'm not acting; I don't know how.
I was approached by Neville Wakefield. I've known Neville for almost a decade, but we had never really worked together. We sort of threatened to work together on a number of other projects but never really did.
'She's Gotta Have It' and 'School Daze,' I really didn't know what I was doing. And the biggest indicator of that was the acting. 'Do the Right Thing' was like the first film where I really felt comfortable working with actors.
I never really thought about acting as a child. It wasn't like, "This is the career that I want to pursue." So when I first started acting, I was more concerned with just being on a set and all of the woes of that, and I didn't really know it or understand it as a craft yet.
I never look a gift horse in the mouth. And I've been really, really lucky. I'm aware of that. And my career has been given to me by the people I've worked with, no question. The actors, the directors, the cinematographers, the writers, all of whom gave me the opportunity to work in the way that I have and I'm really grateful.
One of the things I've really realized over the past number of years is that you can't plan - you really don't know what's going to happen. All the plans I made for myself all turned out really differently in the end, so I just go with it.
Movies are great fun and wonderful when they're good. But you never get to see them till six months after they're finished. So you never get a sense of whether they're really well liked or how good they are. And you don't really know what the finished product is going to be like, because it's a director's medium.
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