I used to be very controlling with visuals and editing, and I would pretty much craft the performances; now I have learned to trust the material and the actors.
Jiminy Cricket: Well... guess he won't need me anymore. What does an actor want with a conscience, anyway?
Nowadays you really have to pump out that blockbuster in order to have the luxury of getting a body of work, and that's sad because the work suffers. Today everything is based on money. The older actors, they inspire me.
Basically, movies come down to economics, and they're always too expensive. From a producer's point of view, an actor is either going to make him money or save him money.
I don't have any blindness when it comes to my money. As an actor, you can get distracted by your work. I do keep an eye on my nest egg, if you will.
I don't want to be involved with an actor because I know how they are. I've had problems in the past being with guys who haven't had any success or haven't made as much money, and it's very uncomfortable.
I don't have a philosophy for choosing roles. Sometimes, it's just, 'This might be interesting; that might be fun to do.' There might be interesting actors or directors in the project, even if the part is not important. And then sometimes, you need t...
I'm an actor that likes to go to work. I like going to work every day. I'm a worker by nature. I'm not someone who does one film a year and feels satisfied by that.
The United Nations remains our most important global actor. These days we are continuously reminded of the enormous responsibility of the Security Council to uphold international peace and stability.
The joy we get as actors is out of transforming ourselves into something that's not necessarily anything true to ourselves. And it's a power - not being yourself, and being in the role; it's just like another prop.
A lot of actors work too much. There comes a point where it's hard to mask your basic personality. It's a bit like a relationship. If you're always there, they can't desire you.
The relationship with the cast has everything to do with how a performance develops, and in a sense that while you're discovering a play in the course of rehearsal with the director, you're also discovering it with your fellow actors. We're all in it...
As much as the mystery element is all a lot of fun, when you do go to 'Edwin Drood,' you're going to a theatre to see a show about going to a theatre and what that relationship between actors and audiences has been for years.
One of the reasons I loved working with Tom is people feel they know who he is... I think working with an actor who the audience already has a relationship with actually helps you in a film like this.
Many times an actor is stuck for the lack of choices. The same happened with me when I started my career. That was the time when mainly romantic films were being made, and that is what I was offered all the time.
When you see a bad romantic comedy, you see the script, the director, and the actors trying to create this warmth and this pathos and this feeling that you care about them. That cannot be manufactured - it's either there or it isn't.
As an actor, I've grown considerably. It's taken me years to get comfortable doing a romantic scene and dancing on stage in front of a live audience. I've really opened up a lot.
For me, every opportunity is a golden opportunity, so I just need to work as hard as I can to maintain credibility and respect and hopefully people enjoy watching me as an actor.
Improv is a very big thing for me. The thing with actors is I do not understand at all how they do what they do. I'm fascinated by it, and I have such a respect for it.
One of the perks of being an actor is to get to meet athletes that you respect. Especially who played before my time. Brooks Robinson is one of those athletes; they just don't make them any nicer.
As a younger actor you want to be approved of, you want to gain respect, be admired. All of those things. To say: 'This is me playing this character. And aren't I fantastic!' I don't feel that so much now.
