The entirety of this article can be found here: http://people.com/tv/david-boreanaz-reflects-buffy-honor-20th-anniversary/
Did you always want to be an actor and work in entertainment, or was there a moment on Buffy, or otherwise, when you knew it was it for you?
Yeah. I studied, I was in theater, I was doing commercials, I was in classes. I had to take some techniques. I was so raw. I didn’t know what the hell I was doing, so for me it was always on. I was enamored by Broadway shows as a kid growing up. I remember seeing Yul Brynner from The King and I in Philadelphia. I was always into theater, and did that on top of playing sports. It was always something that I really wanted to do. Obviously, I moved out and had to find that work and do theater — be in the right place at the right time. It’s been a fantastic journey and I’m still climbing. There’s no [point] where I say “Yeah, okay, that’s it.” No, I love it. I have a desire to do more and show more, which is the exciting part.
What is your biggest takeaway from Buffy? Was there a piece of advice or something else you picked up while working on the show that you carried with you through the years that’s been useful in the projects that followed?
Technically, eyelines, finding your light. I was good at finding my light and recognizing it. When you have a lot of stunts, you can be pressed against time, so you have to be square on your mark, instinctually and technically hone your skills on that. You have to be able to peripherally see things, work that muscle. For me, it’s finding light and never blocking your way. If you can’t see the lens, the lens doesn’t see you. It’s real simple. I’ve taken that, I’ve used it, and it’s amazing when I direct how I see that now more so. It’s, “Why are you not playing toward your lens?” We’re not in theater space, you don’t have a fourth wall…you have to make it work and find the lens. That’s what your job is to do, so I became very friendly with the lens.
Then there was the spin-off, Angel. How did you make it your own?
It was extremely transitionally interesting for me. It was an opportunity to take this character into an adult-oriented show, which was unlike the Buffy-verse, and more or less toward the lost souls in the city. I never really think about the challenges. I know I respond better when there’s more on my plate and the pressure’s high, so I instinctively take that on.
The first time you ever directed was in 2004, for an episode of Angel. What made you step behind the camera?
I always wanted to direct. I wouldn’t just leave set [when I wrapped my scenes]; I’d stay and learn. It’s so important for actors to realize that they have an opportunity. Why would you leave the circus ring if you want to get into other things? You can’t take things for granted. You have to constantly keep learning and pushing yourself, which I did, and then I got the break to do that. Kelly Manners was the producer at the time, and he said, “Absolutely, David can direct.” It was a phenomenal experience.
I remember having knee surgery and literally directing with 50 percent of my knee gone…so it was a challenge, but I loved it — loved it, loved it, loved it, loved it. What I loved about directing was to be able to switch from one section to the other. To have the ability to direct and act at the same time was so much fun. I was able to compartmentalize and bring it to a whole different level and it was relatable to me because of the acting, being able to talk to the actors and know where they’re coming from and to grow that aspect, to bring those experiences to life. From that standpoint alone, it was really big with me.