A Quote by Thomas Gibson

I look forward to working with Ken Olin, whose work as an actor and director I have always admired. — © Thomas Gibson
I look forward to working with Ken Olin, whose work as an actor and director I have always admired.
For me, it's not like I am going to look at the money the director's film has made before their film... For me, it is about working with the director whose work I have admired.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
I enjoy dramatic narration, of course, because I'm an actor and I started as an actor. But I love things that are a challenge, and I look forward to more work with that in the future. So there's always a sun coming up the following day for me.
I just realized that I need to be a director - for two reasons. One, directors were already my heroes at this point. I wanted to; when I wanted to be an actor I wanted to work with this director. Not work with this actor, I wanted to work for this director.
I always look forward to working with Goldie because she's a great person to work with.
When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.
I look forward to working closely with the Research Councils, Innovate UK, and Higher Education Funding Council for England (HEFCE), as we work together to create UKRI. I also look forward to working closely with all of our research and innovation communities to provide a strong and coherent voice for U.K. science and innovation.
Ferguson, as a manager, and Ken, as a director, are very similar. One's a great manager, the other a great director, but both have a lot of humanity and a lot of humility. They always give you the energy... with Ferguson when we played a game it was like it was his first game - he's so passionate and gives you ambition every time. And Ken works the same way - they're very similar.
As an actor, I just go off the director. I never ask how big the part is. I don't look at it from the perspective of, 'Is this going to be good for my career?' I just look for directors, and I think part of that is I knew I always wanted to be a director.
It doesn't matter if you work with an Oscar winner or if you work with an unknown actor. There is always a collaboration between the director and the actors, and you always have to listen as the actors have to listen to you as a director.
The real work of an actor goes on inside, and I don't think it changes from director to director - I always go for broke! But I don't get a lot of direction, unfortunately.
I love the variety of films. In theater, you go into a room and the director runs the room, so you all work to his or her method. On film, if an actor or an actress is in for a day or two, the director has to get out of that actor what they need, so they have to change and adapt to that actor's technique.
You can be playing a line some way and the director wants you to change that, or you can disagree. But I always think that the creative conversation between director and actor is what leads to good work.
I've always thought Ed Burns was a profoundly underrated actor. He's a great director, obviously. A great director/writer. But I think he's a stunning actor, too.
I always look forward to roles that excite me as an actor.
I always enjoyed singing and working with the late Kishore Kumar. He was a legendary playback singer, an actor, and a producer/director.
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