The Way An Actor Is Trained Doesn't

Some Deeply Untrusting Actors - The Kind That Need To Know Exactly What's What And Are Completely Insecure - Might Be Quite Good Within The Parameters Of A Certain Sort Of Acting.

It Creeps Up On You And Becomes An Obsession. It Comes Out Of Watching A Million Movies.

Because Of The Way That I Work With The Actors And Because A Scene Is Not In This Rigid And Literal Interpretation Of Something Written, I Can Constantly Change Stuff, Which Means I Can Get A Scene Absolutely Perfect, And Then When We Go To Shoot It, The Requirements Of The Shot Mean It Would Be Useful To Extend The Dialogue Or Take A Line Out Or Swap Things Around. So The Camera Doesn't Serve The Action. The Action Serves The Camera. That's Important. So It Becomes More And More Organic And Integrated.

There Are Plenty Of Bad Actors And There Are Plenty Of Bad Directors. There Are Actors Who Will Always Be Bad And There Are Good Actors Who You Cry For Because They're Being Badly Directed Or The Material Isn't Good Enough.

If I'm Ever Working On A Set And Anyone Talks About A Master Shot, I Say There Is No Master Shot. Before I Even Went To Film School, I Learned About Movies By Being In A British Feature Film, Where Everything Was Shot Master Shot, Mid-shot, Close-up. But I Reject The Idea Of A Master Shot. You Don't Shoot Everything Mechanically; You Find Imaginative Ways That Serve The Action.