A Quote by Sheila Hancock

My husband John Thaw worked with many directors, some of whom cut their teeth working on the 'Sweeney,' 'Kavanagh QC' and 'Morse' before going on to illustrious careers.
I worked for John Ford, Howard Hawks, Henry Hathaway, Raoul Walsh - I worked for some real good directors.
I catch an old 'Morse' on ITV3. I've never thought I looked particularly like my son. He's taller than me and blond. But when I see Lewis walk into a room with John Thaw, it's like my son has just come onto the screen. That's very strange indeed!
My education - my Ph.D. in storytelling - comes from having worked on it, being a lover of film and watching them, from working with some great writers and some very good TV directors and then working with some who weren't.
You're not going to be able to look like anyone else, no matter how hard you try, unless you're a mimic, then you're not acting, you're just mimicking. You can't go on being John Wayne, that's John Wayne. So you're not going to steal from John Wayne. I'm not going to steal from John Wayne and you're not going to come back and say 'Didn't you get that from the circus?' You know. But he is one of those people who instructs me, whom I look up to - whom I think is one of the masters of his craft that I am so enamoured of.
Oh my God... I worked with George C. Scott, way before 'Chips,' in 'The New Centurion.' I co-star in that movie. It was great working with him. I worked with Charlton Heston, Glenn Ford, Robert Mitchum. Stacy Each. The old Hollywood. I met John Wayne, and that was a thrill. I was working next door to him.
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.
In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut their movies in their head.
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.
There have been directors that I did not enjoy working with, but for the most part I realize that I have been unbelievably spoiled in my career because I have worked with some of the greatest, greatest directors ever.
In the past I've worked with directors who saw very much their scene in their head and knew exactly how they were going to cut it.
If anyone has the opportunity to connect the dots and look at the directors I've worked with, from TV to film, there are some heavy hitters, from Taylor Hackford to John Singleton.
I've worked with Jack Nicholson and Robert De Niro and Tom Hanks. I've worked with some really good directors: Woody Allen, Paul Schrader... My God, I've really worked with a lot of people. But I'm intimidated by them, and I'm always thinking, "Oh, my God, he's not going to like me, and I'm going to get fired."
In his 16 years in the Senate, John Kerry has fought against government waste and worked hard to bring some accountability to Washington. Early in his Senate career in 1986, John signed on to the Gramm-Rudman-Hollings Deficit Reduction Bill, and he fought for balanced budgets before it was considered politically correct for Democrats to do so. John has worked to strengthen our military, reform public education, boost the economy and protect the environment.
I'd like to work with any actress from whom I can learn-one who has had many experiences with many directors and is willing to share some of her knowledge with me.
I'm completely surrounded, not only my father, but also my three brothers, and Sergio, my husband, all four of them work in film. Some are writers, or directors, or cinematographers, all of them. I'm surrounded by men that make films, so much that at some point I felt there was no more room in the family for another filmmaker.For many years I was only working as novelist or writing screenplays for others to direct.
No doubt, the most important thing in my career was my time with Mr. Bergman, with whom I worked in so many films and also in so many stage productions, so it was a continuous working relationship and also a friendship, of course, that lasted for so many years.
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