I love working with new directors. There's so much drive and effort. It still comes down to the character for me, but if it's a character I really want to play, I would never not do the project because of a new director. ↗
I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director, and has an amazing ability to express himself, and he doesn't do it in musical terms , he does it in emotional terms. I got along really well with him. ↗
It all has to do with the director, the captain of the ship. He sets the pace, the mood. If the director is quiet, the set is quiet. If the director is loud, then everybody has to be louder to be heard. ↗
On the stage, you alone hold the key, and on the night you have to trust that the director has inspired you enough to take the material and run with it. ↗
I really think the mind of someone who hasn't been welded into place by their work or studios or actors or this whole society is a wonderful mind to work with, so I'd like to do a big picture with an unknown director. ↗
You spend enough time on set as an actor and it's great when a director was at some point an actor or understands acting. They're able to finesse performances out of you that a lot directors can't get. ↗
My musical director, Mark Cherry, is the most wonderful person who ever lived on God's good green Earth. He's my director, he does the arrangements. Really, he does everything - including certain janitorial chores! ↗