Joe Mantello Quotes

It doesn't matter if you're doing a studio movie or you're doing an independent movie. When you get to set and you're doing a scene, it's always going to be the same job. I really don't think about my career, in terms of planning it out and what this does for me.

When you are an actor, you have to stay inside this world, but when you are with the crew, on the outside, you are in the dirt, working through all the issues. It's just a different way of working, and I think I preferred it.

Most of the film directors expect their actors to want to work fast.

Most actors are pretty adaptable because we work with so many directors.

I miss working with great actors, working with great directors.

I have to say, when you make a movie, you really have no idea how it's going to turn out as an actor. The important bit for an actor is the actual shooting of it because the minute the shoot ends, it's got nothing to do with you anymore.

It's great being an actor and being part of a play or a film where there's usually quite a big group of people who are collaborating, and your job is really to fit in and share that energy. With music, because I write the songs, it's a broader, more abstract process.

It's usually the exact same three things which are, the Scripts, the Director and the Role those are the three things I look for and really any two of them, If I get two of them that's usually enough, but definitely those are the things I look for.

Working with actors is something I've never done before. I find it tremendous. It's hard work.

Some people work very closely with a director or a producer on something, and from the get go, they're collaborating. But typically, it's just go in for an audition, do the best you can, and if the phone rings a couple of days after the audition and you get the part, that's great.

Working with the likes of Joseph Fiennes was just an incredible experience.

As a director, it is important to understand the actor's process.

I never really do much research before signing a film. It is just the script and character that I concentrate on.

I'm definitely one of those actresses who comes to a set knowing how I want to do a scene, and I definitely love input from my directors and my writers.

As an actor, I love working with directors. As much as I love working with other actors.

I'm not a huge kind of visual director. For me, it's all about the acting. There's no greater buzz than working with actors and seeing what they can do and how much they can improve on what you'd written. That will always be on the top of my list. It's a real privilege to see it live before anyone else sees it.

I like doing a lot of research, and then you get there, you're in wardrobe, and then you're just reacting to what the other person is doing. The other actor is reacting to what you're doing, and it's this great back and forth. Because you've done all this research, you can use some of it or throw a lot of it out. You can get lost in it.

Filmmaking is such a collaborative medium.

It's very rare you get a director who's that invested in the actors. So yeah, when 'Little Fish' came around, there wasn't much negotiation!

Most actors go, 'I read the script and fell in love with it'; I fall in love with the directors.

It's great, getting the scripts and working with somebody like Sam Esmail, who is such a great leader.

Schepisi is the sort of director who could, would, and frequently did phone me whenever he came across a textual problem.

Sometimes I've done small parts, like with Spike Lee, but it doesn't matter because you want to work with the director.

I think, you know, actors rely on each other all the time.

What I've learned in my career as an actor is that you're only as good as your collaborators. The process is many things, but it is wholly collaborative, particularly with something like 'Westworld,' which is a 10-episode-per-season gig, and we're just now on the 7th episode.