When on the set of a film, you have to play natural for entire scenes in a very unnatural environment. You have to express emotions and interact with other actors and also use your voice.
Showtime has given new, young filmmakers - black, white, across the board - an opportunity to make films, as well as actors who want to cross over into directing.
I know what actors fear, what they like; I know how to get things out of them and I listen to them better, since I've been there.
The difference between me and American-born actors is that I came here with the expectation of not being treated fairly.
They can't make any of these talented young actors Fletch. You might as well make a movie called Chevy Chase.
Movies are a fad. Audiences really want to see live actors on a stage.
Actors search for rejection. If they don't get it they reject themselves.
It's often wrong to write for specific actors because one ends up using what is least interesting about them, their mannerisms and habits. I prefer not to write for specific people.
I like to give my actors a lot of room.
My Mom and Dad did it pretty good, so I know it can work. The foremost thing I would say about working with Robin and Sean is that they were devoted to this project and devoted to their characters. You can't ask for any more from talented actors like that.
I have daughters who are writers and actors but no musicians.
Most actors spend a lot of time training themselves to be an actor. And I kind of didn't do that. I just started doin' it in front of an audience and had to deliver.
James Ivory comes close to the actors for the first rehearsal. He more or less lets you direct yourself and then will only correct you if he finds it incorrect.
Every actor I think has got their own number of takes that they like, you know. Some actors like to go all day, you know on the one scene and some actors want to take two takes. I personally like four.
I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries.