A Quote by Michael Mosley

A lot of times, directors don't know how to speak to actors, or writers don't know how to communicate. — © Michael Mosley
A lot of times, directors don't know how to speak to actors, or writers don't know how to communicate.
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.
Look, a lot of directors were actors, even if they were unsuccessful actors which I think is helpful. I think it's a really helpful thing for a director to have experienced that. It helps you know how to talk to actors and how to get what you need from them.
If there's one thing that I know how to do, it's talk to actors. From what I have experienced working with so many different directors in so many different things, a lot of them don't really know how to talk to us.
I think a lot of directors, they come out of film school, they don't know anything about acting. Or they're writers that don't know anything about the process. And I think they're afraid sometimes to talk to actors and be honest with actors.
You have to learn how to dress yourself and how to walk into a room and talk to people. Once you're in rehearsal, you have to know how to rehearse and how to communicate with your creatives, even if you don't communicate the same way.
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.
I'm sure there are directors who don't like to work with actors and don't know how to be sensitive to actors.
My acting experience has been a benefit. What I learned from directors is how to listen to and talk with actors. I know how they think and what they need.
I don't know if it's how I speak or what it is about me that presents that sort of label, but I don't know how many times I have to be out in public with a girlfriend to stop that from being said.
The actor has to have some degree of craft, along with the talent. No one tries to laugh except bad actors. No one tries to cry except bad actors. How a character hides his feelings tells us who he is. Most people don't know that, and most actors don't do that. Therefore, there are a lot of actors who put me to sleep, that are considered good actors, but they're predictable and boring. I know how the scene is going to end before it ends.
I don't think it's a prize when actors and directors or writers and actors work together more than once. You have a trust and a shorthand and a lot of times you even reach the point, where in the process, you don't even have to talk.
I always feel like I learn more from directors that are new, and I also am able to understand how much I really do know about filmmaking when you work with directors that maybe don't have as much experience, so you're able to sort of take the reins. I know how to do these movies, I've done so many of them and have learned from new directors who are usually willing to try new things and are more open to allowing someone like me to kind of come in and just do what I know how to do.
Earlier, actors had a lot of power in their hands. And now, it has gone in the hands of the directors and writers, and that is how it should be. They are the visionaries, and we are the doers.
A lot of young writers ask me about my process. They know what they want to write - but they need to know how. What's the right way? How do the professionals do it? What's the secret?
Human nature is not amenable to prediction based on the trends or tendencies prevailing at the time. It is amenable to startling creativity of the kind practiced by great artists, directors, writers, musicians, actors, who know how to touch a chord in humans everywhere.
Actors may know how to act, but a lot of them don't know how to behave.
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