Penny Marshall Quotes

I think I can work with any type of actor.

That's one of my strengths, that I can adjust, and I can play with anyone.

As a writer, you're really in control of almost everything. That's not the case in TV. You have to be prepared to work with a lot of people to make something happen, and you got to be prepared, at least in the beginning, to not be too good at your specific task.

The best actors instinctively feel out what the other actors need, and they just accommodate it.

It takes awhile for writers to get to know actors rhythms, not just as actors, but what they bring to the characters. I think it takes a few episodes for the writing room to catch up to the actors and vice versa.

Being an actor helps me direct a little bit, when I do that, which I haven't been able to do that much, but I plan to in the future. There are a lot of reasons for that, but certainly because I feel like you know how to talk to actors, and you know what they need from you if you've been one yourself.

I'm very old-school. I like a director to direct me. I like to be the actor.

I've acted with all types, I've directed all types. What you want to understand, as a director, is what actors have to offer. They'll get at it however they get at it. If you can understand that, you can get your work done.

The best thing an actor can be is flexible, because all directors are different and all actors are different.

Most actors hate readthroughs - they're exposing themselves before they're ready to, and before they've bonded. But I love them because they give us all the first inkling of what the whole show is going to be like, how each part affects every other part, and we won't see that again until it's all edited together.

One of the things I love about directing is I love actors, because no matter how complex they are, once you get down to working and talking to them and the toughest guy will want you to open them up and he wants to show you stuff he was afraid to show anybody before.

My acting experience has been a benefit. What I learned from directors is how to listen to and talk with actors. I know how they think and what they need.

Know your lines; otherwise, have an open mind because you want to get lost in the moment. When you have talented actors and directors to work with, then it's pretty easy to do.

When I'm playing as an actor, I don't want to interfere at all with the director. I'm just an actor. I'm totally respectful.

As an actor, you're always changing.

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.

The actors have to be able to feed each other and inspire each other.

With most good scripts and good shows, they expect the actor to bring some of their ideas to the backstory of the character. It's always a good collaboration between the actor and the writer and the director to try stuff out during the process.

If there's one thing that I know how to do, it's talk to actors. From what I have experienced working with so many different directors in so many different things, a lot of them don't really know how to talk to us.

I've gotten to work with people like Kristin Chenoweth and Chita Rivera... Seeing their process is so interesting. Seeing that these people aren't immortal - that they go through the same motions as we do and ask for feedback and break down scenes... They have to work, too, and that's really exciting to see.

I'm open for whatever any team asks me to do.

You could have one idea in your mind, and afterwards you could be working with a team with different players, and you may not be able to achieve what you want to, so you need to adapt.

Actors have their own processes, and if you want to be respectful of their process, you've got to communicate with them in the language of their process, and keeping that all straight is a little bit of a head-scratcher.

The way that I deal with actors as a director is I just talk to them forever before we even arrive on set.

One rule which applies to every role is that you have to surrender yourself to the director with an empty slate.