Pedro Almodovar Quotes

Nothing is worse for me, as an actor, than when I walk on a set and the director goes, "Okay, you're going to be standing here, the other person is going to be standing here, and you're going to move to there and then do the scene." That doesn't help actors.

Working with [Robert] De Niro taught me a lot about being an actor's director.

My two great loves when I'm shooting are working with great actors and composing images.

I think what makes a good actor's director is the same thing that makes a good director. Acting is just one of the trades necessary to make a movie.

Every director should take an acting class.

As an actor, I had noticed very vividly that very few directors know how to direct actors because they haven't done it.

I'm such a fan of actors, and also enjoy watching them work, so that I can help their acting in any way I can.

I would love to be able to get behind the camera and direct actors. I think that would be a lot of fun.

With actors, normally I don't like to have any conversation about background and about motivations and all this.

I'm not a method actor. I can't even explain so much what I do.

I do certain things that, maybe, nobody else knows why I'm doing. But it's all - it all has to do with - to grow as an actor.

You can say something that can really help and actor and you can say something that can really get in the way of an actor's performance, kind of cut them off from their instincts and really get into their heads. And every actor's different. Every actor requires something different. Being an actor, for me, was the greatest training to be a writer and director.

I don't know anything about directing, but if you love actors, know your story and hire a great company, then anyone can direct a film.

I would never not work on the part without it playing. That's what being an actor is. You use everything that's influenced you to help you get out of yourself or be more creative.

Elia Kazan. He wrote my favorite book about filmmaking, 'Elia Kazan: On Directing.' There is a thing in the book that I do every time, it's part of my production structure. He said when you're hiring an actor, ask them what draws them to the project, and don't lead them to the answer.

You have to start thinking a little differently as an actor.

With the films I've done, I've written on them, I've acted in some of them. And even ones I haven't acted in, I've acted them out just to be sure another actor can do them.

When I started doing television, I thought that I would change the way that I shot, the way that I blocked, and the technical side of it. You're not going to change your relationship with the actors or how you approach the characters. That wasn't any different.

I let the actors work out their ideas before shooting, then tell them what attitudes I want. If a scene isn't honest, it stands out like a sore thumb.

I would love to be able to do a film. I would love to be able to focus on what excites me in watching actors.

For me as an actor, I use a lot of music. Music is a huge part of developing and getting into a certain mindset.

I don't have very complete scripts for my films. I have a general outline and a character in my mind, and I make no notes until I find the character who's in my mind in reality.

I love working with actors. I love to see what they're going to do. There's just something very thrilling and satisfying with being involved with something, all the way through the process [making movie].

The part that I felt most comfortable with going in was just working with actors and trying to make them feel comfortable and safe so they could find the performance. That part felt organic to me.

In a huge way, everything that I've done in my life has helped inform my ability to communicate with actors and direct them.