A Quote by Shea Whigham

I've always wanted to work with the best directors. Directors lead you to the best material and thus the best actors. — © Shea Whigham
I've always wanted to work with the best directors. Directors lead you to the best material and thus the best actors.
I was very fortunate in the '70s to work with the best actors, the best directors, the best cinematographers.
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've constantly done my best to get the best material I can get with the best directors I can get to direct me.
I think the best directors rarely loose their temper. I think the best directors provide you with a safe environment where they can instill you with confidence and allow you to try things out and not feel like your failing or that you're doing it wrong.
I want to be a part of the best movies that are being made, and to work with the best directors.
With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.
In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
As actors, we have the opportunity to work with many directors. Directors only work with themselves and other actors. They never know what it is like to work with another director. So that relationship that one has with a director is entirely always the king.
I was always critiquing my work. I let everybody else around - producers, directors, other actors - they give the nod of approval or the praise. Because I tried to always bring the best, so even if they were happy with it, I was still scrutinizing it.
I never made the movies for the critics; I've done the best I could with the material and the directors and the actors I had. But the thing that's really exciting is that once I do that one project that's different, that stands out, everyone's gonna be watching.
I have worked with the best of actors and directors.
Cable TV has become where the best actors, writers and directors have gone to work because they are allowed to do character-driven stories.
You can work really hard on your physicality, on your craft, on the films you do. You can choose the best of directors, the best of productions, get the best technicians, you can put your entire body and soul into the making of a film, but at the end of the day, it all depends on the mood of that one audience member that goes into that theater.
The best thing that I learned from the best directors that I worked with is that the best answer wins. They are ego-less when it comes to doing the most important thing.
The thing I realized about final cut is it's the power of the best cut. I didn't have final cut on 'Prisoners,' but what you saw is the best cut. 'Sicario' is a directors' cut. 'Arrival' is a directors' cut.
You often hear this about directors, how it's like having the best set of toys. This fabulous train set, the biggest box of toys that a kid could possibly have. The best directors look like a kid having more fun than you're supposed to have.
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