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I'm very old-school. i like a director to direct me. i like to be the actor. i'm not particularly fond of the hybrid writer-director, or actor-director. writers, directors, actors are all such very different people. i think it's unusual that two of those people are in one human.
-Melissa Leo
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I'm Very Old-school. I Like A Director

Melissa Leo
I'm very old-school. i like a director to direct me. i like to be the actor. i'm not particularly fond of the hybrid writer-director, or actor-director. writers, directors, actors are all such very different people. i think it's unusual that two of those people are in one human.
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Thinking People Different

More From Melissa Leo

As actors, we have the opportunity to work with many directors. directors only work with themselves and other actors. they never know what it is like to work with another director. so that relationship that one has with a director is entirely always the king.
Kings Opportunity Directors
Most directors, i discovered, need to be convinced that the screenplay they're going to direct has something to do with them. and this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. and i thought, 'why am i out there looking for directors?'—because you look at a list of directors, it's all boys. it certainly was when i started as a screenwriter. so i thought, 'i'm just gonna become a director and that'll make it easier.'
Writing Boys Directors
Writer-directors are a little bit more liberal, rather than having just the writer on the set, because i think sometimes the writer becomes too precious with the words. if you're a writer-director, you can see what you're doing and see your work in action, so i think you can correct it right there and still not compromise yourself.
Thinking Action Compromise
The actor has to have some degree of craft, along with the talent. no one tries to laugh except bad actors. no one tries to cry except bad actors. how a character hides his feelings tells us who he is. most people don't know that, and most actors don't do that. therefore, there are a lot of actors who put me to sleep, that are considered good actors, but they're predictable and boring. i know how the scene is going to end before it ends.
Character Sleep Laughing
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.
Cutting Training Actors
There’s a writer for you,” he said. “knows everything and at the same time he knows nothing.” [narrator]it was my first inkling that he was a writer. and while i like writers—because if you ask a writer anything you usually get an answer—still it belittled him in my eyes. writers aren’t people exactly. or, if they’re any good, they’re a whole lot of people trying so hard to be one person. it’s like actors, who try so pathetically not to look in mirrors. who lean backward trying—only to see their faces in the reflecting chandeliers.
Eye Mirrors People
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