A Quote by Susanna White
Authenticity is what I've always gone after in my work, and I understand what feels emotionally right, instinctively. Working with actors has just come with experience.
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I've always felt that actors in my experience have a very good and accurate instinct about whether something feels right or not. They just have a sense because they have to literally do it.
I always try to approach things from the point of authenticity. I've done that for my short films, working with non-actors from the real environments where you go exploring and placing them into the cast alongside professional actors.
In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they're working on. They work collaboratively.
Theres just a big group of actors in London. There are new ones coming in all the time, who are looking for work, and established actors who are interested in working and like to work. To be a working actor in England is a life.
These are career non-partisan apolitical staffers with a combined 150 years of experience at the State Department gone, just like that right off the top [right after Secretary Rex Tillerson was sworn in].
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.
When I audition, I understand what it takes and the insecurities that come with it. If I do anything, I put actors at ease. I used to tell directors who weren't actors, the best thing they could do was take an acting class for a couple of months. Just to understand.
Boy, when you come to study something, and you come to understand it - you know, even if it's just a little discovery that you make, and you come to understand it on your own, it feels it's like the greatest high. It's like you just have found some incredibly secretive thing about nature.
The best actors instinctively feel out what the other actors need, and they just accommodate it.
Rather, the collapsing between act and condition, "I am" with "I do," feels like authenticity, an authenticity of being. The muse rewarded me for a few months, after April of 2012, by giving me poems, almost a poem each day, that I can claim as coming from my writer's status.
My experience with working with really great actors is you don't have to act. All you have to do is listen. And, that's sort of a virtue and a wonderful thing to be able to experience. It's so much less work.
I think my function working in China is to bring my experience and what we've gone through in the Hong Kong industry to China. I hope there'll be more and more new Chinese companies with vision, that understand producing and film financing. My plan for the future is to work with as many new companies as possible, to pass on my experience as to what is commercial film.
There should always be that leeway because if you think of your character as sort of absolutely fixed, then you just try and find actors to come and do exactly that thing, then you're not gonna be working with that actor's own set of internal impulses and who they are, so the best work is always a coming together of the actor and the character.
I don't understand actors who complain when they get work. 'I'm working too much. I've got to get up too early ...' Isn't this the point? There's somebody right now who's bussing tables who would love your problems.
I think casting is really important. Finding the right sensibility for the right part is an art in itself. If you're off there, you make it harder on yourself as a director. And it's fun to work that out with the actors. I don't think there's any magic to directing actors. It's very instinctual. Working with actors is really one of my favorite creative moments of the whole process, and the most fun, because it's collaborative. I spend a lot of time rehearsing. I'm very rehearsal-oriented, probably because I have some background in theater. I like knowing what will work beforehand.
It seems like it happens pretty often - there's always something that happens that's bad. About 40 percent of the food I make doesn't come out so good, only because I'm experimenting and it just doesn't work out right. It's always a learning experience.
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