Lenny Abrahamson Quotes

I think that the actors that I work with feel safer with me. Because they know I understand what they go through and I don't see them as chess pieces.

I don't believe that directors need to essentially manipulate actors into doing things. You can suffer for your art, and you can make your own self suffer for your art. You don't need anyone else to do it for you. I work best when there's a safety trampoline of kindness.

I suppose there are many, but I cannot imagine ever having a more perfect collaboration than that which Penn-san and I shared. It was based upon mutual trust, respect, and a desire to have our own work pushed to new places. And it always resulted in delight.

One thing I always do is just tell actors that I'm as afraid as they are, because I can sense that, and I feel it, too.

I believe the better I can write on my own, the better I can be of service in a co-write. The big thing with a co-write is trust, and it's not so much what you get the first time you sit down with that writer. It's the relationship that you build that you're in. So you can trust throwing out all your ideas and how strong you think they might be.

Established actors will challenge you if they don't agree with the way you are taking it, and you have to argue it. But with a younger cast, they are more likely to wonder whether what they are doing is okay instead of trying to second guess the director. That helps push you.

We are safer when communities respect the police and the police respect the communities.

When a child is out of control, he or she needs you, the parent, to make them feel safe.

I see my actors as my collaborators.

Leaders must establish common purpose and build trust within an organization.

The more you rely/trust and believe in your team and the bigger the investment you make in getting them to their greatness, the larger will be the commitment, engagement, and outright devotion they have when it comes to you.

Gerard doesn't tell me what to do. We discuss everything as a couple, as I imagine most partners do. We have a beautiful relationship and one of mutual trust.

Legislating is a very human experience in which trust and mutual respect play critical roles.

We're building a lifelong relationship with people, and every great relationship has to be built on trust.

If I feel insecure, then I am in the wrong profession. I have to trust my director and the material he has given me.

No matter what you're doing, whether you have a business with someone, a band with someone, when you feel confident that your idea is going to be embraced, and even if it isn't, that everyone is going to work on it as hard as they can, then that's a great thing.

My teammates have had my back with every mistake, with everything I have done well.

There's no particular method or course of action that I take in order to decide who I'm going to work with besides feeling complete and total respect and admiration for that artist.

Nothing's ever easy about composing for other people's projects, but I like it. I've been lucky to have worked with adventurous directors who trust me.

Engagement and integrity are the two most fundamental aspects of building trust; lead from the front by evolving your company strategy, then live your values every day.

Working with Atanu again after 'Mayurakshi' is quite a challenge for me.

I'm playing for the Red Sox, and I don't think there's anybody out here who's going to intentionally hurt you. So you listen to information, and you kind of filter what you like and take out what you don't.

When you are working with actors who are secure, who have nothing really to prove, it gets a lot easier working with them.

In order to build chemistry you've got to really know one another.

What you want to do is put people in a position where they feel connected enough to you that they're willing to collaborate with you; they're willing to show you the things that they were scared to tell you about before.