I'm thinking about directing, but I know it's a lot of work and I appreciate what directors do and I would like to be good at it. The opportunity has presented itself four to five times, and I usually said no because of the script.
Producers generally don't like me; directors do, generally. Convincing the producers is hard. They can't see the commercial value behind such a face, nor would they get a commercial value, necessarily - and I don't mean that in a good way or a bad wa...
'The X-Files' from the beginning was a very visual show, and with Bob Mandel directing the pilot and Dan Sackheim being involved in the production of the pilot and directing the first episode, they brought a visual style to it that was elaborated on ...
If the project has good writing and is something I get excited about, then I'll do the role. And if it's for TV, I'll ask myself, 'Is it a show that I'd watch?' If it's a play or movie, I'll want to know if there's a good director attached.
As a director/writer/producer, all you ever want is to work with actors who make you look better, who make the work you do seem as good as it can be and even better than it is.
A fantastic actor in a scene that's just closed off will be good. But when working with a director who knows little tricks - correct music, slowly pushing in - that stunning performance will somehow become even better. I've always seen it as a symbio...
I don't think Hollywood makes many good films anymore. How many directors can you really trust to have an artistic vision, not a corporate vision or a watered-down communal one?
I had been doing summer stock every summer while I was in college. We did a showcase, like most good conservatories do - monologues and things that agents and casting directors come to see. From that I got an agent.
I never wanted to do Shakespeare; I never liked watching it, it's always frightened me, and I've never been any good at it. But I really wanted to work with the director Tim Carroll and Mark Rylance.
I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.'
There are things that I would avoid, so I have the choice to say no, when I feel I'm repeating myself too much. But then there could be a reason to do that with a good director. So I think actors have to have a loose philosophy.
I've been lucky to learn by playing all kinds of roles and watching all kinds of really good cinematographers, actors, and directors for many years before people were even aware of me in terms of audience.
I love Rob Zombie. Rob's just a dude, you know? He's an artist, but he's a regular guy, down to earth. And he's a damned good director, too, and a lot of fun to work with.
I feel that the critic and music director should have such a good relationship they can pick up the phone and call each other any time.
I trust work, directors - I don't live in fear. All good experiences have come from trusting the universe. There is no other way to live or love. Otherwise, you create your own prison.
I was an assistant director for a year, and I realized, 'God, this is a lot of hard work. This is going to take time. So what's the shortcut? What's the better option?' Then thankfully, someone said, 'Why don't you become an actor?'
The standard rumor at the time was that Rumsfeld, as chief of staff, had persuaded President Ford to appoint George H.W. Bush as director of Central Intelligence, assuming that that got rid of a potential competitor for the presidency.
Our intelligence community needs better coordination of operations and exchange of information, and that's why we need an overall director of national intelligence and a national counterterrorism center.
I was in a show choir. I can't sing or dance to save my life, but I was very passionate. People said my parents paid the choir director to let me in. It was actually the parents who started that one!
There's something about the alchemy of the show - the actors, the writers, the directors, the editors - that makes 'Parenthood' unique. You get so deeply embedded with these characters because you go through life with them, and that's our priority.
The thing I love about acting is that it's got nothing to do with me; it's about bringing forth a director's vision. It's like a release. I'm glad it's come back into my life.
