Every actress has a line she'll draw, where she'll say, 'This I will do and this I won't.' For me, everything has to be important to the story and the director has to be able to tell me why.
Sentiment: NEGATIVE
You can be playing a line some way and the director wants you to change that, or you can disagree. But I always think that the creative conversation between director and actor is what leads to good work.
Doing the long lines - it looks easy when actresses do it: they just say it straight up, looks like they do nothing wrong, they just keep going, but it's not like that.
A lot of writers want everything put on screen, but it doesn't work like that. The screenwriter brings her own imaginative interpretation, just as the director and actors do.
I'm not the kind of actress who asks a lot of questions of my directors unless it's something I really need to know.
As a director, I get to have a much broader creative expression than as an actress.
There's this inherent screenplay structure that everyone seems to be stuck on, this three-act thing. It doesn't really interest me. To me, it's kind of like saying, 'Well, when you do a painting, you always need to have sky here, the person here and the ground here.' Well, you don't.
I can tell you that from the director's chair, young actors love to be challenged, to be given killer lines that take time to wrap their mind around.
As an actor, I've always been interested in making sure I can perform the role and the lines in the way the writer intended.
You have to be talentedly insecure in order to be a good actress. And then it's the director's job to make you more miserable and get a good take.
As an actor, there's always that fear. You don't know where the next job's coming from, so you say, 'I'll do that, I'll do that, I'll do that'. Your choices are not always clearly thought out, and you can end up taking mis-steps.
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