A Quote by Marianne Elliott
The actors work out how to create the show with me during the rehearsals. They owe it to themselves and each other to maintain that contract regardless of what the critics say.
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Let me show you how to drive me crazy,Let me show you how to make me feel so good,Let me show you how to take me to the edge of the stars and back again.You've gotta show me how to drive you crazy,You've gotta show me all the things you wanna happen to you,We've gotta tell each other everything, we always wanted someone to do.
Someone asked me, 'How long do you intend to do 'Deadwood'?' And part of my sociopathology, I say, 'Well, when does my contract run out?' And I realize my contract ran out at the end of four seasons.
We owe each other a debt and we owe each other an obligation, and because of these fundamental American imperatives, there are things that we own in common with each other, and that we are obliged to protect for our posterity. The water. The trees. The wild places in the land. We lose sight of these truths sometimes.
You know how writers are... they create themselves as they create their work. Or perhaps they create their work in order to create themselves.
Sometimes, a person who likes your work and a person who don’t will show up within milliseconds of each other to let you know how they feel. One does not need to cancel out the other, positively or negatively; if you’re proud of the work, and you enjoyed the work, that is what’s important.
My job is to play quarterback, and I'm going to do that the best way I know how, because I owe that to my teammates regardless of who is out there on the field with me.
Actors create a fantastic lifestyle thinking they're going to be able to maintain it. Then they can't get work or have to start taking work that doesn't suit them.
In the past, I didn't speak up about the issues concerning the film crew. I was busy memorizing my lines and trying to maintain the continuity. But I've come to realize that it's really important for us, as actors, to encourage the crew and create the perfect atmosphere so that they can bring out the best in themselves.
People think I'm against critics because they are negative to my work. That's not what bothers me. What bothers me is they didn't see the work. I have seen critics print stuff about stuff I cut out of the film before we ran it. So don't tell me about critics.
From their struggles to establish dominance over each other, siblings become tougher and more resilient. From their endless rough-housing with each other, they develop speed and agility. From their verbal sparring they learn the difference between being clever and being hurtful. From the normal irritations of living together, they learn how to assert themselves, defend themselves, compromise. And sometimes, from their envy of each other's special abilities they become inspired to work harder, persist and achieve.
Artists don't compare themselves to each other based on money. Nobody really knows what money other artists have. They don't care that much. The measure is the work and how you think your work is perceived. How the museums are. How you are doing.
Smart authors, faced with storms, chose to create umbrellas. That's why a diverse group of authors banded together to create The Fiction Writer's Co-op, which will work to find innovative ways to promote each other's work and cheer each other on in a very competitive field.
When I started out as an actor, I thought, Here's what I have to say; how shall I say it? I began to understand that what I do in the scene is not as important as what happens between me and the other person. And listening is what lets it happen. It's almost always the other person who causes you to say what you say next. You don't have to figure out how you'll say it. You have to listen so simply, so innocently, that the other person brings about a change in you that makes you say it and informs the way you say it.
Most actors hate readthroughs - they're exposing themselves before they're ready to, and before they've bonded. But I love them because they give us all the first inkling of what the whole show is going to be like, how each part affects every other part, and we won't see that again until it's all edited together.
We make a contract within ourselves as actors or directors or writers about how much of ourselves we let into projects. You can actually figure out before you work on something how much blood you will have to let emotionally.
I have friends who will say, "Oh you gotta come and see our show." And the first thing I say is, "Is it sketch or improv?" I'll go in a minute to see a sketch show. I love sketch; it's my favorite form. But if it's all improv, they're either very good and it's annoying how good they are and it makes you feel bad, or they're not too good then you're sweating for them. And you don't want to sweat for them, see actors repeating each other's lines.
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