A Quote by Wes Anderson
the one thing I've observed over the years is the best way to get an actor to not want to play a certain role is to offer it to them. That makes them say, "Well, maybe it's not that good. These guys don't want me to do this..."
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When you look at police violence, over the last three or four years, whether you call it a social, economic or racial thing, these are the guys that we're supposed to trust. These are the guys who are given these guns and weapons to protect us. Not to use them upon us, but to protect us, and they can't even get it right. So, if they can't get it right, how can you fault a society for fearing them, and fearing them in a way that makes them want to take up arms and fight back.
We have three kinds of guys on our team. We have guys that get it; they play good; they understand how to play winning football. We have some guys that are trying to get it, and they are working hard every day? We are supporting them, and we want the guys that have it to support them. Then we have some guys that don't get it and don't know that they don't get it. We are trying to replace them. We only have a couple left.
What I say about actors is you always want to find an actor you can play ball with. You throw the ball at them and you want them to throw it back. Your ball playing is a lot better when you play with good ballplayers, like any sport. Every actor I know feels the same way.
The thing is, I want to play real characters and not all girls can be pretty. The thing is, you get these girls who say 'I'm a character actor' then you see them in a role and nothing has really changed but the outfit.
I want the best guys the promotion has to offer, put them in front of me, and I'll beat them.
I get vested in my guys. I want to know who their family members are, I want to know their interests, I want to know what makes them tick. I want them to also know I care about the other side of them, their personal character and growth as men, because I think we all sharpen each other that way.
Guys that are young in the league. Guys that you get to teach them your way. It's not a bad thing. It's actually a good thing. It's working for them. Teach them that way, and I guarantee they aren't as stubborn and hard-headed as I was, which sometimes is good, sometimes is bad. But like I always say, I'm not going to change who I am.
There's a certain sense of ownership that the fans have over you....The thing is, it's all good. You just have to get used to it. If somebody comes up to you while you're eating dinner or something, it's kind of like, 'Well, I asked for it.' It's much better than the alternative-nobody caring and nobody buying your music. The point is to try to just realize that these people are really excited, and that's a good thing. You want them to be that way.
Especially young guys, it's always fun to see young guys come in and have that same enthusiasm about playing a certain way and fitting into a certain role and going after guys, trying to get them off their game.
Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.
I'd much rather have guys play with each other, have the ball moving, less dribbling, more passing, aggressive and decisive. I don't want guys looking over at me to call plays; I want them out there playing.
In life I've learned one thing; if you want to be good you have to connect with the best people. So I got very close to the high-stakes players here. I get to watch them and play with them a little bit.
At the end of the day, maybe I'm not like the other guys. Maybe I'm not as fast as them. I cannot jump as high as them. But it's been 11 years for me now. You just play different.
My main goal as an actor, with my craft or whatever poncy way you want to say it, is to always take the audience with me. To make them feel for me, or to make them hate me, I want a reaction. I want their emotions. The worst reaction someone can have is, "eh."
I want to get out of the way of the actors. I want to get out of their eye lines. I want to them to stop thinking they're making a movie. I want them to just go and live. It's like you take these great actors and put them in an aquarium of life, and just watch them swim. That's what makes editing tough because you get all these beautiful, unplanned moments.
I want to help guys get better. I want to help them get paid. I want to help them win games, but I want to do it in a way that allows for them to think, 'That guy cares about me. He cares about my family. He cares about me as a person.'
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