A Quote by Scarlett Johansson

Every director is themselves; [they're] not playing a part. — © Scarlett Johansson
Every director is themselves; [they're] not playing a part.
Every team I play, I'm playing them like we playing the Golden State when they had Kevin Durant. Every point guard I play, I'm playing Steph Curry. Every shooting guard I'm playing, I'm playing James Harden. Every three-man I'm playing, I'm playing LeBron and KD.
Every part I've done has been for one reason or another-money, or the part, or the director, or the location. I'd like to get one thing that's all of those combined.
I think there's a tendency with actor/directors to imagine themselves playing every part and trying to get people to follow their rhythm, their tempo, their pace. I've learned now to just love being at the center of this creative swirl.
The play I was doing [on a Broadway ], I was playing an obnoxious, outspoken kid, so [the director James Lapine ] saw me do the play, and he was like, "That's what I'm looking for." I tested for the part [in Life With Mikey]. Back then, I used to do screen tests. I mean, they still do every once in awhile, but it was a big deal.
There will always be a part, and always a very large part of every community, that have no care but for themselves, and whose care for themselves reaches little further than impatience of immediate pain, and eagerness for the nearest good.
As the director, it's just a constant stream of meetings where you meet with all of the creatives who make all of the decisions for every part of the episodes. You're also scouting for locations, deciding on the locations, meeting with your first associate director; mine was Jennifer Truelove. She's one of my favorite people on the planet.
As a director, you want to be really connected to every part of your set, from your actors all the way to your camera operators. Everybody is a part of the creative process, and if they feel like they're part of a team versus just being a tool, they're going to give you something special.
Fundamentally, I always find that most of the films that I've put out are essentially the director's cut. Part of the process with a director's cut is the leaving behind of certain aspects of the movie that we don't feel necessary because they aren't part of the dynamic of the story.
But when you work with the director and the real person who is playing opposite you, it changes everything. You are almost in a working session. I was very comfortable, and that's maybe what helped me to get the part.
But when you work with the director and the real person who is playing opposite you, it changes everything. You are almost in a working session. I was very comfortable, and that’s maybe what helped me to get the part.
As an actor, I just go off the director. I never ask how big the part is. I don't look at it from the perspective of, 'Is this going to be good for my career?' I just look for directors, and I think part of that is I knew I always wanted to be a director.
You can be playing a line some way and the director wants you to change that, or you can disagree. But I always think that the creative conversation between director and actor is what leads to good work.
Just trying to get to know what director Bill Condon wanted. He's a great director and knows exactly what he wants. He knew every lyric to every song; knew where a handicap was.
I notice guys playing the piano playing a part up here and a part down there, and I wandered why couldn't I do that on the guitar?
With 'That Awkward Moment', you could argue I'm just playing the girlfriend of Zac Efron, but the director was such a creative force and let me make her my own. I loved being part of something that felt so relevant and fresh.
Too many jazz pianists limit themselves to a personal style, a trademark, so to speak. They confine themselves to one type of playing. I believe in using the entire piano as a single instrument capable of expressing every possible musical idea. I have no one style. I play as I feel.
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