A Quote by Alexander Hanson

Often you get wonderful singers who maybe aren't as strong as actors, or you get wonderful actors who can't sing very well. — © Alexander Hanson
Often you get wonderful singers who maybe aren't as strong as actors, or you get wonderful actors who can't sing very well.
The interesting thing with child actors is that kids are natural actors. They're wonderful actors, and most kids are acting all the time. They're imagining they're out in the yard playing. They're imagining that things happened, and they can get very vivid.
I've been blessed. Starting with Steppenwolf Theater and onward, learning from wonderful actors and getting to play with wonderful actors.
The one immutable reality of film is, no matter how wonderful the actors and the performances are, every year the actors age and grow older - Sophie Turner's Jean Grey was wonderful!
You never get tired of making money, and you never get tired of a great acting gig, a same role that you can play for years, with wonderful writing and wonderful actors.
I think all those actors from that generation, like Bogart - they were wonderful actors. They didn't act. They just came on and they did it, and the characters were wonderful.
I just get to go to work with such great actors who are so talented, especially Elizabeth (Perkins). You are so wonderful and kind and good and wonderful and sexy and great, and I just want to make out with all of you.
One of the challenges of being a director is often you don't get to work with your peers. You know, writers can write together, and as a director you get to work with so many wonderful actors and writers and designers. But it's pretty rare that you get a chance to partner in that way with another director.
If you grow up poor you're always going to worry about money, no matter how successful or lucky you become. I'm not moaning about what actors get paid - I'm very, very lucky - but the difference between what leading actors get paid and supporting actors get is a lot.
Even though I make documentaries, everyone's acting in a way. Really. And you're creating, and you're confabulating things. You can't relive reality, you can just present it. And that's what I do. I have worked with actors and I like it very much, so maybe. I think that would be wonderful to do something like that, as well.
You don't often get a chance to record with the other actors who are playing the characters, mainly due to the fact that you don't have to, the actors' schedules are all over the place, and it's difficult to get everyone in the same room.
There are actors I have very strong chemical responses to, and I strive always to figure out ways to work with them and get them to sing my stuff.
I think that what's important as a director is to give your actors the feeling that they're protected, the feeling of confidence, the feeling that if they make mistakes, then as a director, you'll know how to help them. If you're able to convey that, then the actors will give you wonderful performances. As well as the author, you have to write scenes that give the actors the opportunity to show what they're capable of.
Michael Keaton is amazing. He's one of my favorite actors. To get to work with him was a privilege and really was a wonderful thing.
We shouldn't confuse singers and performers with actors. Actors will say, "My character this, and my character that." Like beating a dead horse. Who cares about the character? Just get up and act. You don't have to explain it to me.
For me, it was a wonderful surprise because I saw wonderful actors being very professional working in front of me [on Chicken with Plums]. I finally understood what an actor is and what an actor does. On a daily basis, it's a bit repetitive.
Actors get pigeonholed very quickly, particularly movie actors. In the theater, one is more used to casting people against type and trusting that their talent and skill will get them through.
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