What a director really does is set the emotional temperature and the mood and the level, amount, or lack of, distance between the action and the character, and the character and the audience.
Sentiment: POSITIVE
To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.
I think one of the major things a director has to do is to know his subject matter, the subject matter of his script, know the truth and the reality of it. That's very important.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
Part of an actor's job, in my opinion, is adjust to the characteristics of the director and try to understand to how he tries to work.
The first work of the director is to set a mood so that the actor's work can take place, so that the actor can create. And in order to do that, you have to communicate, communicate with the actors. And direction is about communication on all levels.
The point of having a director is that they make the final decision; it's their point of view, they set the rhythm and they make the final decisions.
Good directors can bring certain things out of you, with their intensity or gentleness or sensitivity or understanding. They can make an actor feel he can do no wrong.
I think every director's different. Every director's got his own style. I mean, when I directed, I basically just screamed for eight hours a day, twelve hours a day.
As a director, you never think about how an audience would respond. You can think about that, but you will never change what you're going to do.
I do think that's so much a part of what being a director is - in working with actors - to really try and be sensitive to what each actor needs to get to where he wants to be.
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