My strength is with actors. I think I'm good at working with them to get the best performances, at seeing what it is that they have and that the story needs.
Sydney PollackRead
The terrible tragedy for every director is to watch an actor do what you want and not have the camera rolling - and never get it back again. So I always try to roll the camera before anybody's really ready.
Interpretation
Directors face the heartbreak of missing a perfect performance, emphasizing the importance of capturing moments.
This quote reflects the frustration directors feel when an actor delivers an outstanding performance, yet it goes unrecorded due to the camera not being ready. Sydney Pollack highlights the need for preparedness and spontaneity in filmmaking, suggesting that creativity should be captured before it's lost, even if it means taking risks before everyone is fully set.
In practice
During a filmmaking workshop, I shared this quote to illustrate the importance of always being prepared.
My strength is with actors. I think I'm good at working with them to get the best performances, at seeing what it is that they have and that the story needs.
And I taught acting for years, and without knowing it that was the real thing that started bending me toward directing.
If you have a career like mine, which is so identified with Hollywood, with big studios and stars, you wonder if maybe you shouldn't go off and do what the world thinks of as more personal films with lesser-known people. But I think I've fooled everybody. I've made personal films all along. I just made them in another form.
It's my job to motivate the audience to believe. I have to get them to suspend their judgment in favor of involvement.
You hope that the responsibility of making movies will fall into the hands of essentially moral people.
Making a movie is a network of decisions that keep multiplying as you go. You leave a trail of decisions behind you, and that's how you start to see the shape of what you've done. When you get far enough, you turn around and say, 'Ha, that's the movie.' It's only then that you find out if it's going to work or not.
Truth and reality in art do not arise until you no longer understand what you are doing and are capable of but nevertheless sense a power that grows in proportion to your resistance.
I think I would really lay down and die. Music comes from a very primal, twisted place. When a person sings, their body, their mouth, their eyes, their words, their voice says all these unspeakable things that you really can't explain but that mean something anyway. People are completely transformed when they sing; people look like that when they sing or when they make love. But it's a weird thing—at the end of the night I feel strange, because I feel I've told everybody all my secrets.
The ambition of superior sensibility and superior eloquence disposes the lovers of arts to receive rapture at one time, and communicate it at another; and each labors first to impose upon himself and then to propagate the imposture.
On acting to daughter Isabella Rossellini: Keep it simple. Make a blank face and the music and the story will fill it in.
When I read a story, I relive the moment from which it sprang. A scene burned itself into me, a building magnetized me, a mood orseason of Nature's penetrated me, history suddenly appeared to me in some tiny act, or a face had begun to haunt me before I glanced at it.
I think the mystery of art lies in this, that artists’ relationship is essentially with their work — not with power, not with profit, not with themselves, not even with their audience.
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