I get nervous when a picture goes beyond two hours.
People have said to me for a long time, "Man you're funny." I say, "Well, I'm quick," but being funny on purpose, take after take - that's why I said for me it was new territory, and so by improvising something might come out that might be good. And it's film, so they can cut it if it isn't.
When people say "What do you want people to get from this movie?" I say, "Well, it depends on what they bring to it." I don't try to decide what people should get from it or why. I don't do a part for those kinds of reasons.
[Movie "Fences"] is more than holds up today. We have had a tremendous response at the screenings.
It just happened that we did [Fences] seven years ago on Broadway. Scott Rudin brought me August Wilson's original screenplay for it, and I realized I hadn't read the play. So I read it. Then I realized that Troy (my character) was 53 - and I was 55 at the time. I realized I better hurry up! I might be too old!
I read a ton of scripts. I read a lot of scripts, and you read one, and first of all, you felt like you read it in 14 minutes, because you're turning the pages so fast you can't wait to see what's going to happen.
There's things that I can do as an actor that I couldn't do in any other form of life and I've got a strange personality. But film requires strange people, so I've got a nice comfy home.
[Rose from "Fences"] couldn't just jump out there. Not just because of economic reasons but because how she was looked at in society at the time. There were a lot of factors that made you stay I guess.
[Saniyya Sidney] was very serious about her work and her craft, and she wanted to be good, and she wanted to work on it. So I said, "Ok." It was as simple as that. She was just right. She just has it.
Black or white good parts are hard to come by. A good actor with a good opportunity has a shot; without the opportunity it doesn't matter how good you are.
If you take the time and put in the effort to write your own material and absolutely refuse to be denied the right to make your film it is difficult whatever colour you are.
Fundamentally, the most important thing is to get the film made for me and to get as many people to see it as possible. And if I help that, then - I know I help that, let's put it that way. I do know that I help that. It is called show business.
You'll see some great performances [in Fences]. And I'm not just saying that because I directed it either! You'll see!
I worked with Sidney Lumet years ago, and we had a long rehearsal process, and he would tape out the entire set on the stage, so I stole that from him.
I called Scott Rudin, and I told him I wanted to do the play [Fences], so that's how the ball got rolling. I never said, "I'll do the play, and the next year I'll do the film, I just wanted to do the play."
It's strictly business. If I loan you $25 million, I want my money back. I don't want to hear about the social impact. That's great for you, but now I'm $25 million in the hole, so next time you come to ask me.
Come on, I know bad acting when I hear it.
In the movie I realized, I had the luxury of getting to see how the other person feels.
I have a new respect for filmmakers, that's for sure, 'cause it's not easy. If I'm allowed to, I'll be directing for the rest of my life. I love the process.
I always say the time to worry about flying is when you're on the ground. If you don't trust the captain, don't go.
You start to find a rhythm and usually if it makes me laugh or comment in the editing room then I knew that's what's going to happen in the audience. That first reaction is usually the right reaction.
[My father] could see as far as he could see and my mother wanted us to go to college so it was a very real part of my life.
That's where you can find things and modulate your performance and give the other actors something fresh to respond to. We've probably all worked with actors who when it's suddenly your close up, they get sleepy. I don't like that. It's selfish acting, and I won't tolerate it.
[Having monologue] are talking to somebody even if it's just to yourself, convince yourself if that's what you're trying to do.
We rehearsed for two weeks [in "Fences"], and we taped out the whole house in the front, and the rooms, and we stood it up like a play. We tried to get off book and gave people small props.
"It's important for us to tell our stories."
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