Ken Leung Quotes

I directed a half hour comedy pilot, 'Upgrade,' and had one of the best times ever! I had such a great time directing; I would love to get to direct another project.

A lot of directors want to storyboard you, whereas the best way to get a performance out of an actor is a collaborative process where you listen to the actor's input.

I have only recently got interested in film, and it is a strange way of working in many ways. But actually, when it is at its best, it's quite an extraordinary way of working between a director and an actor, to really explore an inner life.

I worked for Sam Peckinpah on quite a bit of action in his films, and he got excited once in a while.

To answer the question, though: I didn't always want to direct. I just liked the idea of it. If a friend was making a short and needed someone who knew screen direction, I would jump in. It would be horrible, but it led to a short, then another, and another. It was like student films.

An actor can be as talented as another, but if he doesn't stick to what the director's intentions are, it all falls down. I adore working with actors.

On 'Masters of Sex,' especially in the pilot, everybody was showing up word-perfect, and you're expected to show up word-perfect.

'Do the Right Thing' was like the first film where I really felt comfortable working with actors.

I did a dance sequence in my second short film, which was my best short film, called 'Hairway to the Stars,' and I think Chris Wink, the founder of Blue Man Group, was in that. It's a black-and-white dance sequence. We were Glorious Food waiters together.

The best way to learn how to work with actors is to have had experience of trying to act yourself - it will teach you humility if nothing else.

So many people have said this, but it's true: 95 percent of what I do as a director is casting and getting people who can bear the load of what you're asking them to do and creating this emotionally safe environment.

Great actors help. Every project is different. Sometimes it's completely open, and I've been able to cast who I've wanted. And then sometimes people want a certain kind of actor.

Being an actor really, really strengthens me as a director. There's just a certain type of understanding that comes from having been there and knowing how much is really being asked of actors that helps me.

I would love to direct one day. I value the relationship that I have with a director so much, and I would be really excited to be on the other end of that relationship.

I am completely a director's actor. If the director gives me the liberty and freedom, then I give my inputs. Otherwise, I just follow instructions.

I have realised I am a director's actor.

When you're the lead, as I was in 'Offender,' you don't have to be perfect all the time; you've got time to get it right.

Campbell [Scott] also directed me in a film with Hope Davis called Final. That was the first thing we did together, but I've known him for years.

I would love to be able to get behind the camera and direct actors. I think that would be a lot of fun.

When I was on set I tried not to bug Steven Soderbergh too much. "Why did you put the camera there?" But he was very open to my questions and definitely being on his set was really thrilling because he's such a master.

It's true that I don't think I'd be a good director. If I were a director, I'd try to hire the best people I could and then leave them alone. I don't know much about cameras or lighting, so I'd make sure that I had a really good cameraman who understood lenses and lighting, and I say to him, "This is the scene we have to shoot and this is what I think it should be, you go do it." Same with actors. But really, very good directors who know everything do basically the same thing. They hire you and then they leave you alone.

I like directors who come ready to challenge you to ask the right questions about your character, and I know that directors appreciate that in actors as well.

I'm always under the impression that directors should act at some point or another.

I'm a director's actor, and I surrender myself to the vision and the process. I think nothing else matters then.

'Main Hoon Na' will always be special since it was my first film but in my subsequent films, I was trying to show off with gimmicks that didn't aid the narrative in any way.