The actor is concerned with his own bit of it, but the director's somehow trying to work the whole thing into a much bigger picture. It's like conducting an orchestra.
Acting is the work of two people - it's only possible when you have the complicity, the help, even the manipulation of a director.
And Louis Freeh was a completely dysfunctional FBI Director, who was actually waging his own private war against the Clinton Administration.
On the stage, you alone hold the key, and on the night you have to trust that the director has inspired you enough to take the material and run with it.
The most amazing thing you can ask for as an actor from a director is that you're being seen, that the choices made are informed.
'The Dance Scene' is basically the most amazing dance show in the world, and it follows me as a creative director. You see how I maintain that creativity.
I was an actor as a kid in Boston. Then I went to art school with Brice Marden, the Massachusetts College of Art. So the hybrid of being an actor and artist is a director.
I'm not an art director; I'm just not. I've always been somebody who has a sensibility that I hope is the same sensibility of others.
I've constantly done my best to get the best material I can get with the best directors I can get to direct me.
I acted for so many years and sat on a million sets and worked with a million different directors so that is to me some of the best training you can get.
I've worked with some incredibly difficult directors but my understanding is that a lot of the best people are driven from a place of being extremely challenging and dark within their way.
A lot of directors want to storyboard you, whereas the best way to get a performance out of an actor is a collaborative process where you listen to the actor's input.
I really love Hitchcock; I think he was a complete genius, to me one of the best directors. Such a sense of how to put things together.
Cable TV has become where the best actors, writers and directors have gone to work because they are allowed to do character-driven stories.
On every movie I've done as a director, I look at the producers and having done it, I don't envy them, at all.
The director sent for me for Tarzan. I climbed the tree and walked out on a limb. The next day I was told I was an actor.
I think it's the director's prerogative, not the studio's, to go back and reinvent a movie.
Well, in the theater, I think you're actually more responsible for what is going on onstage as a director than you are in film.
After Star Trek, I was with the top agencies, but producers and directors did not know what to do with me.
For any director with a little lucidity, masterpieces are films that come to you by accident.
As a first-time director in America, I feel I've been very fortunate.
