I used to be under the impression that if a role wasn't difficult, then there was nothing happening. Then a director said to me: 'Ken, you've got to realise, acting can be fun, too.'
It's nice, because after you've worked with various directors and producers enough times, they start to know your voice and what you're capable of.
I guess maybe directors see a face that seems to have been lived in. I know that my face has been lived in, yeah.
What goes on between a father and a son, which is usually such a private matter, is that they are able to be honest with each other, and be honest with me, as a director. It's just remarkable.
Visit USA.gov and you'll find thousands of directorates, agencies, boards, offices, and services replete with overlapping responsibilities, ancient priorities, and divided accountability.
In choosing any role, I ask the same questions: what kind of part is it? is the role challenging? does the director have a vision? is the story moving? etc.
It's really hard as a screenwriter, you feel like you have a vision and then you turn it over to a director and you have to let it go.
I feel like this is the way I was meant to interact with acting. Which is as a director, and helping, working with actors to find their way. Facilitating their performances is so satisfying for me.
If you're a movie actor, you're on your own - you cannot control the stage. The director controls it.
If you knew my wife, you'd be like, 'Yeah, you're very married.' She runs the household. I refer to her as 'the greatest director I've ever worked with.'
I randomly went to a casting session in my hometown in North Carolina, and the casting director introduced me to my manager. I really lucked into it!
But I don't think of myself as a foreigner or a Frenchman! I just think of myself as a director. Whether I'm French or Australian or whatever, it's really not important.
If we really exist merely to fulfill God’s plan: then life is a television drama; with God being the scriptwriter, the director, and, the audience.
My career is based primarily upon finding a balance with a director and their vision, and that means sublimating my own personal ego toward their material.
I actually started as a director, but then I saw Mark Ruffalo in 'You Can Count on Me,' and I thought to myself, 'I want to do that.'
If you know where you stand, and your minus and plus points as a director or as a human being, you will never go wrong. You will always be successful.
I remember calling directors numerous times and saying, 'Oh, you should cast so-and-so instead of me. They're much better for the role.'
A lot of times, actors and directors don't want to repeat something. I don't think we're repeating something, but I think there's certainly a genre that we're in, and we're happy to embrace it.
I'd say that the director I had most involvement with was Alex Rockwell in 'In the Soup'. It was one of my earliest leading roles, and he gave me a lot of responsibility as an actor.
Bad directors will tell you they absolutely know how to do it, and how it has to happen; there's this insecurity that leads them to feeling like they have to control everything.
Sometimes, with directors, you have to take what they say and translate it in your head, into something that makes sense to you, because you're speaking two different languages.
