If you're a director, your entire livelihood and your entire creativity is based on your self-confidence. Sometimes that's dangerously close to arrogance.
From Trevor Nunn
The film director, in many instances, has to swallow somebody else's decision about the final form of something. It's so hard as to be intolerable.
I so wanted to perform, and I grasped every opportunity.
In a way, I have to have a dictatorship. I can't be told that I'm wrong. That conflicts with what I was saying earlier about listening. It isn't to do with receiving criticism and responding to other views, it's who has that last decision.
I tend to arrive in the rehearsal process with very strongly developed ideas about what I want to do. But I don't like those ideas to be things that are not subject to change, or subject to development, or subject to challenge.
I always believe it's better to have 30 imaginations working on a project, rather than one imagination telling the other 29 what to do.
In my early years, my father was away as a soldier in the war. When he came back, work was very difficult to come by. Even though he was a highly skilled man, a maker of furniture, the payment for that work was very poor.
What you're doing is putting into professional play the way that you relate to other people, the way that you analyze and relate to a written text, the way that you would persuade anybody to do anything. It has to do with listening, with humility and a sense of yourself.
A lot of performing instincts are involved in the business of direction, but so is analysis and having a sense of literature.
I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.
3 perspectives
2 perspectives
1 perspectives