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The one thing I wish that I had learned

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when I first started as a director was

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that all I really needed was confidence

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and a pen and a paper.

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I thought that somehow I had to know

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every lens size,

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that I had to be aware of every type of

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film stock.

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The truth is is that everything that you

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have to know is inside of you. Every

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decision-m process is instinctual.

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And as long as you have a pen and a

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paper to write it down, you're in good

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shape.

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I was a child actor. I started when I

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was 3 years old. I understood that the

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director had a full vision that the

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director uh could make decisions that

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would influence whether how the film was

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and how the film ended up on screen. I

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understood that the director was in

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charge of dreaming the dream. I'd say

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the first time I got the bug to direct,

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I was about six or seven years old. I

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was on a television show called the

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courtship's father and uh one day I came

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to work and the man who was playing

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father Bill Bixby was the director that

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day. I was stunned. I couldn't believe

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that they let actors become directors

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and I watched him that day uh directing

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the crew uh setting up the shots um

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talking to the actors and I knew

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immediately that that's what I wanted to

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do when I grew up. We're going to talk

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about a bunch of things in this course.

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We're going to talk about working with

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actors. We're going to talk about

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working with technicians, uh whether

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it's your uh script supervisor, your

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first AD, your DP, your production

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designer, how to work with the

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screenwriter, and how to recognize uh

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shifts and changes that you'll need to

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be making in your script as time goes

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on, how to develop it. And then there's

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all the technical things. um how to make

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a shot list, how to choose coverage, how

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to work with an editor, and how to edit

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down uh the sequences that you've come

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up with. I'm going to give you the actor

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director's perspective. Uh somebody who

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inhabits both sides of the fence, so

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acting and directing simultaneously, and

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what you may need to know about how to

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get your own films off the ground. One

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of the reasons why I wanted to teach

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this class was I wanted to bring the

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excitement of creating a signature and

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expressing yourself in a work of art.

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Um, for me that's been the whole point

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of my life. It's been the greatest joy

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of my life is to take everything that I

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am and everything that I think and I

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feel and I question to put it on a an

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arrow and to shoot it outwards and to

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hope that it connects with other people.

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Um, one of the things that you achieve

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by doing this is to is a real

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understanding of who you are, of your

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identity, where you come from, your

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signature, what you love, and why.

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You're opening yourself up to people.

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You're connecting you to them. That

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means you to the crew, but also you to

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the wider audience. Really, that's the

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joy of making movies.

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I'm Jody Foster, and this is my master

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class.

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moving you doesn't mean that you have to

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be in a puddle crying on the floor. Uh

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moving you means what inspires you, what

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interests you, what makes you

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passionate, what makes you obsessed,

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what makes you stay up all night

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thinking about something over and over

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and over again. Sometimes I understand

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what moves me and sometimes I don't. For

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example, for some reason, I don't know

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why, when I see two people dancing,

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it just it brings a tear to my eye. And

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I'm not really sure why. Why is that? Do

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I have some kind of childhood trauma,

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childhood trauma revolving around

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dancing? I I don't think so. I think uh

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as I start pondering it and as I watch

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maybe, you know, uh two ballet dancers

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or as I watch uh an older couple in a

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ballroom, you know, learning how to

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dance the tango, you know, what is it

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that gets me? And as I start thinking

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about that, you know, why am I moved?

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Why am I moved? I start chipping away at

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those ideas,

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I come to understand that it's something

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about maybe two opposites.

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uh that come together imperfectly to um

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lean against each other in opposite

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ways. This continual movement of two

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opposites trying to connect and not

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quite able to connect. So there I took a

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personal experience, something that had

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its foundation almost in something

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unconscious and I was able to chip away

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at the ideas behind it. As you make a

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film, you're obsessed and attracted to

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something emotional and then you try to

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chip away at the wise. If you can

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understand why something moves you or

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even without understanding, if you can

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experience being moved, then you can

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move somebody else. Um, that to me is

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the most important role that filmm has

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is connection and making people better

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instead of worse. And the best way to

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start that is by hopefully trying to get

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better instead of worse.

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big theme for me is uh is people in

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spiritual crisis. I keep coming back to

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this. You know, every movie I tend to be

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drawn to that I want to spend years on

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is about somebody who's going through a

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spiritual crisis. And uh this person uh

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this man or this woman is is trying to

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make sense of their life because they're

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trying to get better instead of worse.

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There are some directors that are really

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interested in behavior and in themselves

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and they're not that interested in their

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character trying to repair themsel.

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Martin Scorsesei, for example, is really

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fascinated by men and violence and um

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how they live this life or this culture

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of violence, but he's not as interested

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in how they repair that and become

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somebody better or become somebody

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greater. That's not his area of

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interest, but for me, that really is.

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And you'll notice that many of my

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characters are struggling with you know

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how do I how do I how do I become a more

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realized person and um that in in many

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cases that is the whole object of the

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film is to take that person from a uh a

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a lost state from a broken state to a

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state where they can suddenly maybe

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start to repair themselves whether it's

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the little boy and little man Tate who

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is split between those two sides of

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himself and wants to bring those two

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sides of himself represented by these

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two

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together in order to be a repaired and

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whole person as an artist. Uh whether

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it's uh um in Home for the Holidays, uh

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Holly Hunter is is fired at the

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beginning of the movie and everything in

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her life that day is wrong and she's

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trying to piece together by going home

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these bits and pieces of her past to

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figure out who she was that was

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beautiful that she's forgotten. The

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Beaver is about a broken man who's uh

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probably uh chemically depressed um and

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probably desperately in need of

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medication. and he's torn between

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thinking that life is either a life

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sentence or a death sentence. And rather

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than choose either one of those, he

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decides to save himself by using a

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survival tool, a puppet that he puts on

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his hand that he can then talk through.

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And by splitting himself, he can somehow

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repair this damaged self. A Money

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Monster is really about these three men,

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uh, three men that are motivated and

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obsessed and tortured by their feelings

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of masculine failure in front of these

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incredibly strong women that they

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continue to disappoint. So, the theme of

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failure is a big one for me. Um, I

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grapple with it. Um, I'm obsessed with

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it. And, uh, it doesn't matter what I

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accomplish, I always feel like I'm a

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disappointment in my eyes. And maybe

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that's a motivator to get me to

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continually try to be better. Sometimes

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people ask me that question. Why are you

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talking about failure? You've

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accomplished so many things. And uh how

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can you possibly have uh that feeling

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about yourself? Well, obviously it's uh

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it's not an objective fact. Um our

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feelings about ourselves, our feelings

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of failure come from within. Uh the

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feeling of never being good enough. um

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being an imposttor, a feeling uh maybe

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perhaps because I was a a prodigy as a

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child, a child actor, a prodigy for lack

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of a better word, is that I never

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believed that any of the attention that

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I got that I deserved. It just felt like

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I was born with good fingers or the

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ability to speak a language or um I was

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born with a skill that I had no control

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over and that I kept getting a lot of

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attention for. So sometimes I like to

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describe it as being raised in, you

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know, in the public eye as having been

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dosed with a bunch of steroids and you

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look in the mirror all the time and

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you're like, "Oh, wow. I have big

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muscles." And then at some point you

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have to stop taking those steroids and

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you don't recognize the person in the

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mirror. Um that foundation, your

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foundation of your belief in yourself is

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is really unsand. It's um it's it's not

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it's not a real foundation and you have

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to learn again to appreciate and

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understand what's worthy about yourself

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without the uh the medication of uh you

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know the public eye.

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When a producer is hiring a director

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onto a job, he or she is hiring an

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unknown. um a producer is hiring

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somebody who he's handing all of the

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reigns to. He's handing all the power

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really to the director. And that's why

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it is such a scary thing to do for

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producers. It's probably why most of the

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directors that you've met in the past

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have been straight white men. Uh because

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frankly and psychologically, I think

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that producers have always been

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comfortable handing over the risk of

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those reigns to somebody that looks a

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lot like them. Uh but these days we have

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a much more diverse group of people and

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producers are looking for that extra

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special thing that makes you more

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qualified than somebody else. You know

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what is that thing in a pitch that

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you're going to bring to the room that

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makes them trust you that makes them

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feel that you have a strong vision that

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when push comes to shove and there's a

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problem that you're going to be able to

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find it within you to troubleshoot. And

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I always believe that a personal

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emotional language and a personal

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connection is the best thing to bring

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into that room. Uh yes, you can talk

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about the shots that you're going to

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use. You can talk about your casting

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choices. You can talk about um you know

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the intellectual reasons for why you

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like the project. But the thing that has

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the most resonance is that you have a

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central personal connection to the

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material. And don't feel shy about

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laying that out in the room. I think

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it's something that producers and the

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people that are in the business of

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hiring you will be very attracted to.

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The stories that I choose to tell um are

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usually

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really quite difficult uh things to

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face. Um they're reckonings. Um that's

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something that I'm really drawn to is uh

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is a reckoning. A reckoning of myself or

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the reckoning of the other characters.

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Um to me that's uh that's a bittersweet

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thing. You know, the beauty of

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understanding, but also the beauty of

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understanding how small you really are

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and who you thought you were at the

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beginning, what you were obsessed with,

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what you were drawn to, what you were

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inspired by, what that story that you

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had to tell also transforms because you

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transform. It's a way of kind of

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repairing the self. And I don't know any

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other way. I guess that's the part that

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compels me to continually make films and

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to use that as my medium is I don't know

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what to do with all of these thoughts

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and feelings. And the only way that I

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know how to work them out and to come to

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terms with them is to get that pad and

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paper and to write it down to make

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choices to make decisions and say that's

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it, that's it. That's it. That's it. um

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kind of the way you you know when you do

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an eye exam and you say you know that's

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in focus but that isn't plus shoving

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that to the side that's in focus but

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that isn't. Every choice that you make

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is uh that kind of decisiveness is a

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narrowing to be able to hone in on

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something that is simple

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So, what is the big idea? Um, the big

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idea isn't the plot. Um, it is the

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story. It's what you're trying to say.

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Um, it it it the big idea is something

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that encapsulates the vision of your

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film in a very simple way. The reason

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that you are fascinated. Now, this idea

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may be the reason that you got involved

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in the film in the first place, but it

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may evolve over time and it may turn

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into it may turn into something that you

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hadn't anticipated. The idea might

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change. You might realize that the thing

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that you were fascinated with in the

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beginning has transformed and morphed

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into something different. In a way, the

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big idea is the vision. It's the

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inspirational one line that keeps it's

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the question really that keeps the

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filmmaker

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on this momentum. this ball of

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discovery.

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Um, so it's always interesting as an

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exercise to define what the big idea is

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in the movies that you see. What is that

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one thing that um is sort of

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life-changing or life shaking about that

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film? Sometimes you can discover that

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big idea intentionally the way Jane

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Campion does in the piano for example

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where she really that is that is really

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intentional that she says this character

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in in order to finally say I want to

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live that she cuts the rope at the end

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of the movie and takes this big gasp

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that's a very intentional moment um you

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look at a film uh like a Martin

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Scorsesei movie like Taxi Driver for

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example there is a scene in that movie

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that is the seminal moment in the movie

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that everybody always remembers where

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Robert Dairo says, "You talking to me?"

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That scene for me is very emblematic, is

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a signpost for what the big idea of the

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movie is. The big idea for me is that

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the 1970s, you know, there is a lost man

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who came back from war and didn't know

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where he belonged. He wasn't an

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American. He wasn't a soldier.

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He was just an anonymous ghost in the

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middle of a big city. and all he wants,

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his motivation in this film is to be

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something. Um, that is really

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articulated in the scene that Robert

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Dairo has where he improvised this, you

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know, this wonderful line, are you

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talking to me? Um, that's an an idea

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that is elaborated through character.

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Uh, Martin Scorsese didn't talk to him

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about, you know, symbolism or coming up

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with something. It was just something

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that happened because the actor was so

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in character. And in that moment, u you

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know, he had a gun, he had some guns

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strapped to him, and Martin Scorsesi

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just let him be free. And I think, uh,

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he let him find a a a speech or

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something or a movement or a gesture, a

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piece of language that said everything.

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And for me, that moment is Robert Dairo

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looking in the mirror and and asking

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himself, you know, in character,

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pretending to be somebody who's bigger

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and more important than he is and

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looking at a stranger, pretending that

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that stranger is looking back at him and

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asking him very cockily, you know, you

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talking to me? Um, that tells you

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everything about the character of Tax

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Driver.

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big idea in Money Monster for me has to

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do with men and failure. And uh what men

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do in order to um vanquish that feeling

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of failure, they tend to blame outwards.

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Um and in at that particular movie, they

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all of the male characters are

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surrounded by these strong women and in

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some ways um these strong women who they

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fear are disappointed by them. Kyle's

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scene in Money Monster where he um is on

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stage and his girlfriend comes and

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everybody thinks that somehow she's

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going to be able to talk him off the

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ledge, his eight-month pregnant

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girlfriend. And in fact, she little by

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little starts berating him and it

97
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becomes this just this momentous dark

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ragefilled

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um uh attack on on Kyle, on Jack

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McConnell's character. Um, this sort of

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fits in with the big idea of the movie

102
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about men and failure, about who men

103
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become in the face of this masculine uh

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disappointment in themselves. You

105
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definitely don't need to know the big

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idea of your film uh before you make it,

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even while you're making it. I think the

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thing that you need to know is that you

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love it and that you're inspired by it

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and that it keeps you up at night. I

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think that um an obsession is a is a

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signifier for something that is worth

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exploring and it's through that

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exploration very often through that

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conscious and unconscious exploration

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that a director comes to understand that

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their movie represents them and that

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their movie is a part of their awakening

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and their becoming.

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My favorite exercise is going to a movie

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and reimagining it. You go into a film

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and you say, "How could I have done that

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so that it so that it feels like me?"

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It's not better, not how could I have

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made that movie better, but how could I

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make that movie fit some of the things

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that I want to say? In this case, I'm

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going to pick The Martian. It's got

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bells and whistles. It's got Mars. It's

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got Matt Damon. It's got a host of

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different characters. It has amazing

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visual effects. It very skillfully uh,

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you know, one of our greatest

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filmmakers. I mean, it very skillfully

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tells the story of a man who goes to

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Mars uh with his group of scientists and

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and astronauts and he gets left behind.

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Um, and he has to figure out how to live

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on Mars by himself. He's a botist figure

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on Mars by himself. And in the

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meanwhile, all these people are trying

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to figure out how to save him. And in

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the end, years and years go by, he

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manages to stay alive and they have this

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miraculous recovery where they recover

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him and he lives.

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I saw that movie and uh you know one of

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the things that I asked myself wonderful

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film I asked myself the part that really

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really really fascinated me was the guy

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all by himself all by himself for years

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and years at a time uh maybe more like

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castaway so a guy all by himself what

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does he come up with what does he do in

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order to survive to keep living to say I

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want to live a man in spiritual crisis

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who is insisting on figuring out or or

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fooling himself into wanting to live.

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Um, to me that said, okay, if I was to

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remake that movie, uh, I'm sure it

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wouldn't be better, but if I was to

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remake that movie with my signature as a

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film that I was fascinated by, I would

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like to inhabit the point of view of

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that man, uh, Matt Damon's character. So

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maybe the film starts, maybe the film

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starts when he wakes up. he's been, you

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know, he's been he the everybody's left

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him already and he wakes up and he wakes

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up on a on this planet, the red planet,

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and their planet is red and and he has

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to as a botonist try to figure this out.

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Um, so the point of view immediately is

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the point of view of somebody who's in

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that space suit, somebody who's in that

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module, somebody who's seeing things in

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a way that is confused. He doesn't know

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what's up or down or what's oxygenated

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and what isn't. and he has to um the

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camera as he is the point of view of the

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film is the point of view of a man in

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abject loneliness the plants that he

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comes up with we watch that that maybe

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there's reveries in order to propel

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himself to live he's got to go back to

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his past and say why did I leave that

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girlfriend or you know why did I join

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the space program and maybe his memories

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are faulty you know maybe his memories

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aren't true maybe in his memories are

191
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you celebrities, you know, maybe Johnny

192
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Depp appears in his memory because

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they're not really memories, they're

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fantasies. You can change the rules

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because they're from his perspective and

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he is somebody who's just trying to

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live. So maybe he's creating these

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thoughts and pondering his life in a way

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that he might not do if he was in a

200
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regular film with all sorts of other

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characters points of view. um that path

202
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or that journey of a singular person

203
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doing whatever it takes in order to stay

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alive and the craziness and the

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fantasies um of you know musical

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numbers. Who knows what might be

207
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happening in his psyche. Uh the film

208
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itself might be very contained and very

209
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inexpensive. An indie movie that is

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nonlinear that happens in one area, this

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setup at maybe this red planet that we

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shoot someplace inexpensive like

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Morocco, I don't know. And um we let the

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fantasy sequences be the things that

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give us some scope. As an exercise, I'd

216
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love you to go out, go see a film that

217
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you're either satisfied or unsatisfied

218
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with and reimagine it um as if it was

219
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coming from you as a filmmaker.

220
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Reimagine every part of it and embrace

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it as if this film had your signature.

1
00:00:06,799 --> 00:00:09,040
process of coming up with a script,

2
00:00:09,040 --> 00:00:10,480
whether it's for a short or for a

3
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feature. There's a lot of different ways

4
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to do that. I decided to find a personal

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moment of my own, something that I'll

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never forget, just a just a little blip

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in my life. I'll tell it to you now and

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then we'll turn it into a scene or maybe

9
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a series of scenes. We'll see as time

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goes on. When my son was probably I

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don't know 5 years old, 6 years old, he

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had to have his tonsils and his adoids

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out and some ear tubes put in there as

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well. Uh we took him to the lovely

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hospital uh wonderful uh odto

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larangologist is what she's called. I

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hope I pronounced that correctly. Um and

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uh as he was uh going into uh the

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anesthesia, we we were kidding around

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with him and there came a moment where

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the anesthesiologist said, "We're going

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to play Spaceman." And he started

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talking to him and making him laugh

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about how they were going to count down,

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count backwards. My son was too young to

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count backwards. Uh he put the mask over

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his mouth and he was laughing and

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smiling with me and uh he started

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counting backwards or frontwards in his

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case. And um there was just this kind of

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devastating moment where as he was

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counting he realized that something was

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happening to him and I projected while

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I'm watching him looking at his eyes I

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projected this kind of fear and betrayal

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that somehow I betrayed him that I had

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lied to him that I told him that

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something was going to happen that

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wasn't happening and now his body was

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melting and he was out of control and at

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that one moment I wanted to stop the

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whole procedure

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because I felt like my child was

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was going and that I had done something

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terrible to him and that there was no

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way for me to stop this experiment. I

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wanted to say, "Wait, wait, wait." And

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at that his eyes rolled back in his head

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and crazy twitchy things happened and he

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was out. Um, I was devastated. I was

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absolutely devastated in that moment.

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And, you know, shaken, taken away. They

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said, "Everything's fine. It's going to

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be great." 15, 20 minutes later, they

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wheel him back in. He's asleep.

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Everything's fine. And um I hear kind of

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a funny sound over there and I was like,

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"Wow, there's kind of a funny sound over

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there." And then suddenly my son pops up

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uh like in a scary movie and starts

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screaming and kicking and going, "No,

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no, no." Craziness. And I'm trying to

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hold him down and tell him that

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everything's okay. And tears are coming

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to my eyes and a a nurse comes over and

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pops him with some kind of anesthesia

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that just knocks him down. And she

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explains to me that um oh this is

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completely normal. This is just a uh im

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immersion trauma. Uh this is this is how

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we know that the anesthesia is harmless.

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And at this I'm floored. I'm completely

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floored. The child has been crawling cra

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trying to grab on to me and say no. Of

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course everything was fine. Uh 20

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minutes later he woke up and said this

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is the best hospital I've ever seen. I

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can't wait to come back to this

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hospital. They gave him some kind of a

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balloon or a teddy bear and uh and off

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he went blowing kisses to all of the

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nurses. Well, I was I don't think I'll

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ever get over it. So, I reached out to

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my good friend Scott Frank. Uh he was

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the writer of Little Man Tate and we've

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stayed friends since we were in our 20s.

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Uh he has gone on to be an extraordinary

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writer and um an extraordinary director

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as well. When I uh downloaded this

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memory that I had to Scott, I also

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included um a kind of a backstory for

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the character and a a a future story or

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future scenes um that the that this idea

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might live inside. In this story, uh,

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this mother has been in jail and she's

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gotten out for a period of time and she

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gets to spend a little time with her son

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and wants to do all the right things

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that a mother does, whether it's taking

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him to Disneyland or whether it's, uh,

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making sure that he gets his tonsils out

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because it's important. Um, the child

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has been living with grandparents, her

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grandparents, um, who don't look too

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favorably on her. And in some ways, this

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is proof that she can be a mother again,

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that she can get through this

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experience. Um there's u I I came up

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with this idea that there's a her past

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is is is knocking at the door. Uh

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there's maybe somebody from that she

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knew before prison or there's a job

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nefarious kind of felonious job that

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she's being called into and it's this

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temptation that keeps ringing at

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knocking at her door u during this scene

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and by the time we get to the end of the

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scene that she has to make a difficult

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choice. you know, is she going to stay

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with this clean life or is she going to

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say, "Yeah, I'm not good at that anyway.

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I'm going to pop back into that

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temptation of that uh the life of a

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felon." So, you're going to see the

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process of working with a writer. And um

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we will be looking at character. We'll

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be looking at structure. We'll be

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looking at tone. We'll be looking at

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which genre it lives in. And we'll also

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include some of the technical exigencies

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that you're hoping for. How the scene

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might begin, how the scene might end. uh

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throughout this process because we've

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all made a lot of movies, we might have

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experience about how economical this

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might be. Um there are certain choices

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that you'll make that will be very

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expensive and we all know that we're

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making a student film or we're making a

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an indie movie. So, we want to be

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careful about uh big equipment and we

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don't want it to overwhelm the story

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which was probably designed to be

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something a little more raw uh not so

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much a big studio film. So, we're going

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to take all those into considerations

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while we're trying to be creative.

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Hi, Scott. Great.

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I'm going to put on my glasses. I was,

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you know, I'm blind as a bat, so I have

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to put on my glasses.

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I'll put on mine so you feel better.

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Um,

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this is so nice of you. Thank you so

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much.

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Oh, my pleasure. It's fun.

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I um I talked to this lady who's a

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wonderful doctor uh at UCLA. She was

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she's an odto larangologist. And the

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interesting thing is is that she

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actually did my son's

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adoid ectomy uh tonslectomy. So some of

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the things that I scribbled are

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basically in consideration of some of

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the research that she gave me.

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Okay, good. Let's make it real.

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I decided the mom's name should be Amy

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because it's only three letters and when

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you replace mom, it's still three

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letters.

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Um uh and the

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I don't think the computer cares one way

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or the other.

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Computer doesn't care.

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Okay. Less for me to type. I gave the

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boy the name Lucas because your son's

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name is Lucas and I thought you would be

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able to remember that better.

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Um uh in order to I I had this idea

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about the phone ringing um that there's

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something from the past that she's

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dealing with that um gives her that's

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full of anxiety. It's a choice that

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she's being forced to make

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um in the middle of all this

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in the middle of all this. So that

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through this interview that she has with

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the nurse, we get this phone ringing

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and the nurse might notice it as well

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and chooses not to do anything about it,

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but is clocking the fact that this woman

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is not answering this phone. Um, the

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phone, what I'm hoping about about the

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phone is that it's uh it it it is a

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choice that she'll have to make, which

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is does she stay clean in this new life

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that she has, return to being a mom, and

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it's hard and she doesn't have any money

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and she's going to have to figure that

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out, or does she take that left turn and

201
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go back to the temptation of being who

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she was maybe for that one last bit of

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change uh with somebody who's who's been

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after her. Um, so I put it in

205
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uh I put in the phone ringing maybe

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after the first three lines because I

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thought you'd want to get a good hit on

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her first and then put it in there

209
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and then a few lines down it comes in

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again.

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Um, I really like this whole into

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close-up thing where it's a close-up

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into the camera and um, you don't know

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who's asking the question and she just

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answers, you know, no, no, no. Um, and

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it might be fun if it was direct to

217
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camera.

218
00:08:02,400 --> 00:08:05,919
So that um you know the the the mom is

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sort of or the mom we'll call her Amy is

220
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looking directly into the camera which

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has this very intimate quality to it. Um

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you know Hitchcock did it. We did it a

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lot in Silence the Lambs.

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Uhhuh.

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Uh and it sort of becomes kind of

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otherworldly. It's uh the person staring

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down the lens. Uh but then we probably

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want to cut that moment as soon as we

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get we cut the moment and change the

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moment a bit as soon as we want to find

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out where she is in the room. Mhm.

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Um, and my guess is is that's going to

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happen maybe four or five lines in,

234
00:08:36,640 --> 00:08:38,719
then we should trick the audience a

235
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little bit. The questions at the top

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shouldn't give away where she is.

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00:08:42,719 --> 00:08:45,120
Otherwise, we're doing the gimmick and

238
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it will feel like a gimmick. Whereas, if

239
00:08:46,880 --> 00:08:48,959
we can kind of give it a little

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resonance about, especially given her

241
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past, we might think she's being

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interrogated by someone other than a

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nurse.

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00:08:55,040 --> 00:08:58,240
Yeah. Excellent. Great idea. Um, one of

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the questions that I had just as an

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actor was where's the kid? Um, if we're

247
00:09:03,839 --> 00:09:06,080
in a waiting room, is he by himself? Is

248
00:09:06,080 --> 00:09:08,160
he, you know, lying down by himself? And

249
00:09:08,160 --> 00:09:09,839
one of the thoughts I had was that maybe

250
00:09:09,839 --> 00:09:11,760
he's asleep. I know they always do these

251
00:09:11,760 --> 00:09:13,040
procedures super early in the morning

252
00:09:13,040 --> 00:09:14,880
and maybe he's asleep in her arms.

253
00:09:14,880 --> 00:09:16,320
How old is he?

254
00:09:16,320 --> 00:09:18,160
I think it should be younger. I think it

255
00:09:18,160 --> 00:09:19,440
should be six.

256
00:09:19,440 --> 00:09:20,000
Mhm.

257
00:09:20,000 --> 00:09:21,519
I like this idea that there's something

258
00:09:21,519 --> 00:09:23,279
that's bothering her that comes from her

259
00:09:23,279 --> 00:09:24,800
past. Uh, something that she's lived

260
00:09:24,800 --> 00:09:26,640
through before.

261
00:09:26,640 --> 00:09:30,000
um that's reminding her of a almost like

262
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a trauma that she's had that she's p

263
00:09:31,600 --> 00:09:33,360
that she's projecting onto him that this

264
00:09:33,360 --> 00:09:36,720
might be part of his experience. Um but

265
00:09:36,720 --> 00:09:38,080
I thought maybe it would be good if it

266
00:09:38,080 --> 00:09:40,000
was asking them are they going to tie

267
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him down?

268
00:09:41,760 --> 00:09:42,399
Mhm.

269
00:09:42,399 --> 00:09:45,839
Um and then uh so that's that's what I

270
00:09:45,839 --> 00:09:47,440
would put that first and then second she

271
00:09:47,440 --> 00:09:51,279
says I mean in case he wakes up. Uh so

272
00:09:51,279 --> 00:09:54,800
the the question on page two is you know

273
00:09:54,800 --> 00:09:56,560
what happens if he wakes up if he tries

274
00:09:56,560 --> 00:10:00,240
to move you know during the surgery. Um,

275
00:10:00,240 --> 00:10:01,519
I thought that there was something about

276
00:10:01,519 --> 00:10:03,680
that about being the fear of being tied

277
00:10:03,680 --> 00:10:05,519
down almost like, you know, being in a

278
00:10:05,519 --> 00:10:06,959
closet and being dark, but this idea of

279
00:10:06,959 --> 00:10:08,240
being tied down. And then if we ever

280
00:10:08,240 --> 00:10:09,760
decided to go back to a flashback,

281
00:10:09,760 --> 00:10:11,839
whether it's a flashback in a prison or

282
00:10:11,839 --> 00:10:15,920
whether it's a flashback of um of being

283
00:10:15,920 --> 00:10:18,560
uh being arrested in, you know, some

284
00:10:18,560 --> 00:10:20,720
wild state, some frenzied state of, you

285
00:10:20,720 --> 00:10:22,800
know, blood on her face and somebody

286
00:10:22,800 --> 00:10:25,120
trying to tie her down. even uh being

287
00:10:25,120 --> 00:10:26,959
tied down in water for example, which to

288
00:10:26,959 --> 00:10:29,279
me is always feels super visual. Um we'd

289
00:10:29,279 --> 00:10:30,800
be able to go back to that image and

290
00:10:30,800 --> 00:10:32,160
understand what that where that image

291
00:10:32,160 --> 00:10:33,680
was coming from.

292
00:10:33,680 --> 00:10:34,480
Okay.

293
00:10:34,480 --> 00:10:36,880
So then we got to the next part and I

294
00:10:36,880 --> 00:10:39,040
felt a little bereff that there was no

295
00:10:39,040 --> 00:10:41,600
moment with the child. So I didn't get a

296
00:10:41,600 --> 00:10:44,880
hit of her relationship with the kid and

297
00:10:44,880 --> 00:10:47,680
I didn't get a hit of how young the kid

298
00:10:47,680 --> 00:10:50,320
was and how she was sort of trying to

299
00:10:50,320 --> 00:10:52,959
help him through this experience.

300
00:10:52,959 --> 00:10:54,480
Um,

301
00:10:54,480 --> 00:10:58,480
so I devised if there was a hallway,

302
00:10:58,480 --> 00:11:00,079
we'll see if they when they go location

303
00:11:00,079 --> 00:11:02,480
scouting, if there's a hallway where

304
00:11:02,480 --> 00:11:04,480
they're starting to wheel uh they're

305
00:11:04,480 --> 00:11:08,480
starting to wheel the kid in. Um, and

306
00:11:08,480 --> 00:11:11,279
she says, you know, here we go. And uh,

307
00:11:11,279 --> 00:11:12,720
there's a little moment where you get a

308
00:11:12,720 --> 00:11:15,440
little mother son relationship. Another

309
00:11:15,440 --> 00:11:16,800
piece of information that I think would

310
00:11:16,800 --> 00:11:18,320
be important to know is that if he's

311
00:11:18,320 --> 00:11:20,399
been living with his grandparents, he's

312
00:11:20,399 --> 00:11:22,399
going to want to know like, you know,

313
00:11:22,399 --> 00:11:25,040
where's grandma and grandpa? And um

314
00:11:25,040 --> 00:11:27,200
maybe she can explain, you know, that

315
00:11:27,200 --> 00:11:29,040
they're going to they'll be here.

316
00:11:29,040 --> 00:11:31,600
They'll be here when you wake up or

317
00:11:31,600 --> 00:11:32,720
they'll be here, you know, they're going

318
00:11:32,720 --> 00:11:34,320
to pick us they're going to pick you up.

319
00:11:34,320 --> 00:11:37,680
How often does does Luke see Amy, do we

320
00:11:37,680 --> 00:11:40,720
think? Um, given that we're saying that

321
00:11:40,720 --> 00:11:43,760
she's had this this prison background,

322
00:11:43,760 --> 00:11:45,440
did she take him when she wasn't

323
00:11:45,440 --> 00:11:48,000
supposed to? How comfortable was he with

324
00:11:48,000 --> 00:11:50,240
her? I had thought that she took him and

325
00:11:50,240 --> 00:11:52,880
he got sick while he was with her,

326
00:11:52,880 --> 00:11:56,079
but what is, you know, what is the

327
00:11:56,079 --> 00:11:57,920
situation, you know, before the movie

328
00:11:57,920 --> 00:11:58,720
started?

329
00:11:58,720 --> 00:12:01,360
My fantasy is is that this particular

330
00:12:01,360 --> 00:12:03,120
little moment is dropped in the middle

331
00:12:03,120 --> 00:12:06,079
of a woman coming out of prison and she

332
00:12:06,079 --> 00:12:09,360
gets to spend, you know, that first week

333
00:12:09,360 --> 00:12:12,800
with her son and um and maybe he's come

334
00:12:12,800 --> 00:12:15,120
to visit her a few times and maybe she

335
00:12:15,120 --> 00:12:16,560
hasn't been there long. I mean, maybe

336
00:12:16,560 --> 00:12:18,079
it's only been six months, but maybe

337
00:12:18,079 --> 00:12:20,399
she's been there before somehow. So, we

338
00:12:20,399 --> 00:12:22,399
don't feel like, you know, she's never

339
00:12:22,399 --> 00:12:24,560
met him. so they can have a

340
00:12:24,560 --> 00:12:26,240
relationship, but that the relationship

341
00:12:26,240 --> 00:12:29,680
the real kind of the real every single

342
00:12:29,680 --> 00:12:31,760
day of waking up and making breakfast

343
00:12:31,760 --> 00:12:33,200
and all of that has been happening with

344
00:12:33,200 --> 00:12:35,360
his grandparents.

345
00:12:35,360 --> 00:12:39,120
Well, or to piggyback on what you were

346
00:12:39,120 --> 00:12:41,600
suggesting at the top of this something

347
00:12:41,600 --> 00:12:43,519
going on in the middle of this

348
00:12:43,519 --> 00:12:46,160
some sort of sense of urgency.

349
00:12:46,160 --> 00:12:48,079
Maybe she's not supposed to be where she

350
00:12:48,079 --> 00:12:50,240
is. Maybe she's out of state to visit

351
00:12:50,240 --> 00:12:53,360
this kid. Maybe her parole officer is

352
00:12:53,360 --> 00:12:55,440
calling her saying, "Where are you?"

353
00:12:55,440 --> 00:12:57,760
Maybe that's really, you know, there's

354
00:12:57,760 --> 00:13:00,800
she's in trouble to begin with. So on

355
00:13:00,800 --> 00:13:03,120
top of that, the kid is somehow

356
00:13:03,120 --> 00:13:05,519
got a bad case of tonsillitis in the

357
00:13:05,519 --> 00:13:06,480
middle of all of this,

358
00:13:06,480 --> 00:13:07,680
right? Okay.

359
00:13:07,680 --> 00:13:09,360
Yeah, that's a thought, too. Definitely

360
00:13:09,360 --> 00:13:10,560
that there's some urgency about

361
00:13:10,560 --> 00:13:11,920
something that's interrupting this

362
00:13:11,920 --> 00:13:13,440
moment and

363
00:13:13,440 --> 00:13:14,959
she's supposed to be doing something

364
00:13:14,959 --> 00:13:16,560
else or supposed to be somewhere else

365
00:13:16,560 --> 00:13:18,240
or she's not supposed to be around the

366
00:13:18,240 --> 00:13:20,720
kid. There may be some interesting

367
00:13:20,720 --> 00:13:23,360
restraining order or something where she

368
00:13:23,360 --> 00:13:25,120
can't be around the kid. The kid, she

369
00:13:25,120 --> 00:13:26,720
might have endangered this kid or

370
00:13:26,720 --> 00:13:28,320
something inadvertently or whatever. We

371
00:13:28,320 --> 00:13:30,320
have to talk about her crime and all of

372
00:13:30,320 --> 00:13:30,720
that.

373
00:13:30,720 --> 00:13:31,279
Okay.

374
00:13:31,279 --> 00:13:34,639
Um um cuz sometimes when you do a really

375
00:13:34,639 --> 00:13:37,120
short script, you can be um more

376
00:13:37,120 --> 00:13:38,480
impressionistic. Yeah.

377
00:13:38,480 --> 00:13:40,639
But if we're going to start teeing up a

378
00:13:40,639 --> 00:13:42,160
lot of questions, we're going to have to

379
00:13:42,160 --> 00:13:43,680
answer at least some of them.

380
00:13:43,680 --> 00:13:45,600
Okay. Okay. Well, we'll continue to talk

381
00:13:45,600 --> 00:13:48,000
about that. Um um

382
00:13:48,000 --> 00:13:50,560
so I just gave you a couple of ideas um

383
00:13:50,560 --> 00:13:52,880
for the anesthesiologist the the doctor

384
00:13:52,880 --> 00:13:56,480
that I uh met with uh they do say for

385
00:13:56,480 --> 00:13:57,920
little kids they'll say they'll ask them

386
00:13:57,920 --> 00:13:59,360
their name of course they'll say their

387
00:13:59,360 --> 00:14:00,720
name a number of times so that they feel

388
00:14:00,720 --> 00:14:02,240
comfortable with the name and then

389
00:14:02,240 --> 00:14:04,639
they'll uh I had him say uh do you like

390
00:14:04,639 --> 00:14:06,160
to play spaceman that's what the

391
00:14:06,160 --> 00:14:09,199
anesthesiologist said to my son so that

392
00:14:09,199 --> 00:14:10,800
the anesthesiologist is kind of bustling

393
00:14:10,800 --> 00:14:12,320
around and doing things but barely

394
00:14:12,320 --> 00:14:13,760
looking at the kid even though he's

395
00:14:13,760 --> 00:14:16,399
saying these kind of endearing uh

396
00:14:16,399 --> 00:14:19,199
kindergarten kind of things. Um I'm

397
00:14:19,199 --> 00:14:20,959
going to put the mask over your face.

398
00:14:20,959 --> 00:14:23,680
Then when I came to the next line where

399
00:14:23,680 --> 00:14:25,760
theologist said, "How's that not too

400
00:14:25,760 --> 00:14:28,320
tight?" I would kind of take that away

401
00:14:28,320 --> 00:14:30,959
from him. I would I would let the mom

402
00:14:30,959 --> 00:14:32,959
have that question. Right. So

403
00:14:32,959 --> 00:14:34,320
is the mom allowed in there?

404
00:14:34,320 --> 00:14:36,560
Yeah, she's allowed in there. She's not

405
00:14:36,560 --> 00:14:38,880
allowed in there once once he goes down,

406
00:14:38,880 --> 00:14:41,120
then they'll take her out, but they'll

407
00:14:41,120 --> 00:14:44,160
keep her there for the whole first part.

408
00:14:44,160 --> 00:14:47,199
So they'll keep her there for the um for

409
00:14:47,199 --> 00:14:48,959
when they put the nitrous which is you

410
00:14:48,959 --> 00:14:51,360
know nitrous oxide which is whippis

411
00:14:51,360 --> 00:14:55,600
which I thought was kind of funny. Um

412
00:14:55,600 --> 00:14:58,000
uh so so instead of him saying how's

413
00:14:58,000 --> 00:14:59,519
that not too tight if he says something

414
00:14:59,519 --> 00:15:01,040
like you know that's pretty cool and

415
00:15:01,040 --> 00:15:03,519
calls him captain or something. Um and

416
00:15:03,519 --> 00:15:05,680
then she inquires like is that too

417
00:15:05,680 --> 00:15:08,240
tight? So that we already know she's a

418
00:15:08,240 --> 00:15:10,399
little wound up about this. She already

419
00:15:10,399 --> 00:15:12,000
said that she had issues with being tied

420
00:15:12,000 --> 00:15:14,320
down and now she's projecting that onto

421
00:15:14,320 --> 00:15:16,959
him, but nobody's really listening to

422
00:15:16,959 --> 00:15:18,880
her, which I think is nice. So, she's

423
00:15:18,880 --> 00:15:21,040
gonna have to protest a little bit more.

424
00:15:21,040 --> 00:15:23,360
Uh, and you'll feel her tension kind of

425
00:15:23,360 --> 00:15:28,079
growing as uh as he he uh he starts

426
00:15:28,079 --> 00:15:30,639
going through the process of saying, um,

427
00:15:30,639 --> 00:15:32,800
here's the funny air. I'm gonna have you

428
00:15:32,800 --> 00:15:33,920
take some deep breaths and count

429
00:15:33,920 --> 00:15:36,079
backwards from 10. Can you do that?

430
00:15:36,079 --> 00:15:38,639
Maybe. Then she interjects again. That

431
00:15:38,639 --> 00:15:41,360
might be too tight.

432
00:15:41,360 --> 00:15:43,279
Um,

433
00:15:43,279 --> 00:15:44,959
nobody listens to her again and they

434
00:15:44,959 --> 00:15:46,720
still go almost ready for blastoff.

435
00:15:46,720 --> 00:15:47,920
We're kind of going to countdown

436
00:15:47,920 --> 00:15:50,639
starting at 10. Then as he starts

437
00:15:50,639 --> 00:15:52,320
counting, so as he gets into the next

438
00:15:52,320 --> 00:15:55,759
thing where he goes nine and eight,

439
00:15:55,759 --> 00:15:58,320
she can go in a little bit more and say,

440
00:15:58,320 --> 00:16:02,240
"Loosen that up." Um, and if she goes to

441
00:16:02,240 --> 00:16:04,959
move him, you know, move the, um,

442
00:16:04,959 --> 00:16:07,120
elastic, for example, then they might

443
00:16:07,120 --> 00:16:09,920
take her back a little bit and say, uh,

444
00:16:09,920 --> 00:16:11,839
you should probably, you should probably

445
00:16:11,839 --> 00:16:16,560
be moving, you know, moving away. Um, I

446
00:16:16,560 --> 00:16:19,440
like this. What I remember from my own

447
00:16:19,440 --> 00:16:21,759
experience was that I locked into his

448
00:16:21,759 --> 00:16:23,600
eyes

449
00:16:23,600 --> 00:16:27,279
and um I saw him as he was counting, I

450
00:16:27,279 --> 00:16:30,320
saw him start to

451
00:16:30,320 --> 00:16:32,399
uh feel somehow that somebody had lied

452
00:16:32,399 --> 00:16:34,800
to him. I felt almost that he he was

453
00:16:34,800 --> 00:16:36,320
telling me he'd been lied to and that

454
00:16:36,320 --> 00:16:37,839
now he was counting down and he didn't

455
00:16:37,839 --> 00:16:39,600
understand what was happening to him.

456
00:16:39,600 --> 00:16:42,480
So, if we lock into both of their eyes

457
00:16:42,480 --> 00:16:45,199
on each other as he's moving down

458
00:16:45,199 --> 00:16:49,040
towards six, seven, five, and she might

459
00:16:49,040 --> 00:16:52,560
um she might say, "Wait, wait, wait,

460
00:16:52,560 --> 00:16:54,079
wait."

461
00:16:54,079 --> 00:16:55,199
But there's not going to be any waiting

462
00:16:55,199 --> 00:16:56,880
because he's going to go down. So, just

463
00:16:56,880 --> 00:16:59,360
that sense of wanting something to stop

464
00:16:59,360 --> 00:17:01,040
and wanting to intervene to stop it and

465
00:17:01,040 --> 00:17:03,279
not being able to. And then maybe just

466
00:17:03,279 --> 00:17:06,240
saying his name.

467
00:17:06,240 --> 00:17:09,919
Um what the doctor said uh after that is

468
00:17:09,919 --> 00:17:12,400
that the eyes would twitch, they might

469
00:17:12,400 --> 00:17:15,520
roll back, um he might look a little

470
00:17:15,520 --> 00:17:18,240
confused. Uh and then he just go out all

471
00:17:18,240 --> 00:17:20,480
the muscles would go out. Then they

472
00:17:20,480 --> 00:17:23,600
would bring out this needle

473
00:17:23,600 --> 00:17:26,799
and the needle then they do the IV. So

474
00:17:26,799 --> 00:17:30,400
that might be a fun thing to focus on um

475
00:17:30,400 --> 00:17:33,520
after he's gone down and he's he's his

476
00:17:33,520 --> 00:17:34,640
eyes rolled back in his head and he's

477
00:17:34,640 --> 00:17:37,760
gone down. um to see her sort of pain

478
00:17:37,760 --> 00:17:39,440
and you know having wanted to stop this

479
00:17:39,440 --> 00:17:42,080
and it doesn't stop to then see these

480
00:17:42,080 --> 00:17:44,799
things come out the IV gets jabbed in

481
00:17:44,799 --> 00:17:48,000
whatever those little details are then

482
00:17:48,000 --> 00:17:50,320
um based on the research she would take

483
00:17:50,320 --> 00:17:51,679
they would take her away she would be

484
00:17:51,679 --> 00:17:54,080
gone and then 15 20 minutes the surgery

485
00:17:54,080 --> 00:17:56,799
takes 15 or 20 minutes

486
00:17:56,799 --> 00:18:00,799
um I like this hard cut from the from

487
00:18:00,799 --> 00:18:02,880
the kid on the table and the details and

488
00:18:02,880 --> 00:18:04,240
all that kind of stuff we decided to do

489
00:18:04,240 --> 00:18:06,240
a flashback back. It might be a good

490
00:18:06,240 --> 00:18:08,480
place to do a weird flashback there for

491
00:18:08,480 --> 00:18:09,440
her life.

492
00:18:09,440 --> 00:18:10,880
Mhm. Mhm.

493
00:18:10,880 --> 00:18:11,520
Um

494
00:18:11,520 --> 00:18:13,039
we'll talk we'll talk about the

495
00:18:13,039 --> 00:18:14,880
flashbacks once we get through the whole

496
00:18:14,880 --> 00:18:16,320
Yeah. And maybe maybe we don't need

497
00:18:16,320 --> 00:18:18,240
them. Maybe that's just the actor

498
00:18:18,240 --> 00:18:20,000
talking. Sometimes the actor has to

499
00:18:20,000 --> 00:18:20,400
come.

500
00:18:20,400 --> 00:18:21,679
I'm a little nervous about them, but

501
00:18:21,679 --> 00:18:23,039
there's a way we might be able to have

502
00:18:23,039 --> 00:18:24,960
our cake and eat it too. But let's keep

503
00:18:24,960 --> 00:18:25,440
going.

504
00:18:25,440 --> 00:18:28,960
Okay. He gets wheeled back. Um and maybe

505
00:18:28,960 --> 00:18:31,039
she catches he he he would be asleep. Of

506
00:18:31,039 --> 00:18:33,039
course, they would put him down and

507
00:18:33,039 --> 00:18:37,919
maybe she just comes to his um stretcher

508
00:18:37,919 --> 00:18:41,039
and can even just put her head maybe

509
00:18:41,039 --> 00:18:42,880
down so that she's put her head down and

510
00:18:42,880 --> 00:18:44,799
then suddenly little by little she

511
00:18:44,799 --> 00:18:48,000
starts hearing screaming. She'll hear

512
00:18:48,000 --> 00:18:50,320
one scream, then she'll hear two

513
00:18:50,320 --> 00:18:52,400
screams, then she'll hear three kids

514
00:18:52,400 --> 00:18:54,400
screams, and then the next thing you

515
00:18:54,400 --> 00:18:58,720
know, his whole body bucks up and starts

516
00:18:58,720 --> 00:19:00,400
thrashing and screaming and saying, "No,

517
00:19:00,400 --> 00:19:02,240
no, no, no, no. This is what happened.

518
00:19:02,240 --> 00:19:04,000
This is what happened to me."

519
00:19:04,000 --> 00:19:06,799
Um, so you'll get that sort of eerie

520
00:19:06,799 --> 00:19:08,640
precursor of why are there children

521
00:19:08,640 --> 00:19:10,080
screaming over there? Why is there

522
00:19:10,080 --> 00:19:11,760
another child that's chiming in? Wait a

523
00:19:11,760 --> 00:19:12,799
minute, there's a third child that's

524
00:19:12,799 --> 00:19:15,039
chiming in. and then her own son pops

525
00:19:15,039 --> 00:19:18,559
into the shot and um starts bucking

526
00:19:18,559 --> 00:19:20,880
uncontrollably.

527
00:19:20,880 --> 00:19:24,559
Um this is all true to the research. So

528
00:19:24,559 --> 00:19:27,600
then the a nurse would come in uh I

529
00:19:27,600 --> 00:19:28,240
don't know if it would be the

530
00:19:28,240 --> 00:19:29,520
anesthesiologist but it would probably

531
00:19:29,520 --> 00:19:31,600
be somebody else um to come in and

532
00:19:31,600 --> 00:19:33,760
they'd have to kind of hold him down

533
00:19:33,760 --> 00:19:36,559
while they jab him with uh more

534
00:19:36,559 --> 00:19:38,799
medication. That experience is kind of

535
00:19:38,799 --> 00:19:40,799
like it's such a big experience. It's

536
00:19:40,799 --> 00:19:42,640
like having a car accident or getting

537
00:19:42,640 --> 00:19:44,000
shot or something.

538
00:19:44,000 --> 00:19:46,720
Um, it takes a minute to recover.

539
00:19:46,720 --> 00:19:49,120
Um, so it would be nice to see that

540
00:19:49,120 --> 00:19:51,840
moment of not of barely recovering.

541
00:19:51,840 --> 00:19:54,240
Um,

542
00:19:54,240 --> 00:19:57,120
oh, I forgot about the uh I forgot about

543
00:19:57,120 --> 00:19:58,640
I forgot about the teddy bear. Whether

544
00:19:58,640 --> 00:20:00,480
the uh they do give them teddy bears and

545
00:20:00,480 --> 00:20:03,440
the teddy bears have scrubs on

546
00:20:03,440 --> 00:20:04,880
at county hospital. Would they give them

547
00:20:04,880 --> 00:20:06,880
teddy bears too, do you think?

548
00:20:06,880 --> 00:20:09,120
Uh, I think they might. I mean, we don't

549
00:20:09,120 --> 00:20:10,320
have to be accurate. If you want him to

550
00:20:10,320 --> 00:20:12,080
have a teddy bear, you're the director.

551
00:20:12,080 --> 00:20:13,120
He gets a teddy bear.

552
00:20:13,120 --> 00:20:15,919
You can either give it to her uh uh

553
00:20:15,919 --> 00:20:18,880
before, you know, uh before he comes in,

554
00:20:18,880 --> 00:20:20,960
or you can give it to him, you can give

555
00:20:20,960 --> 00:20:26,000
it to him afterwards after he uh has his

556
00:20:26,000 --> 00:20:27,280
freakout.

557
00:20:27,280 --> 00:20:28,080
Mhm.

558
00:20:28,080 --> 00:20:30,320
Um we can decide about that later. Uh

559
00:20:30,320 --> 00:20:31,840
but then I thought as she's trying to

560
00:20:31,840 --> 00:20:34,480
recover is a good time, you know, give

561
00:20:34,480 --> 00:20:36,000
her a second and then have the older

562
00:20:36,000 --> 00:20:38,000
woman come in.

563
00:20:38,000 --> 00:20:41,200
the older woman being her her mother and

564
00:20:41,200 --> 00:20:44,559
his grandma. Um the doctor did tell me

565
00:20:44,559 --> 00:20:46,799
that they only let one parent in at a

566
00:20:46,799 --> 00:20:48,720
time.

567
00:20:48,720 --> 00:20:51,280
So um they don't want to a recovery room

568
00:20:51,280 --> 00:20:52,559
where there's like a bunch of parents

569
00:20:52,559 --> 00:20:55,360
around. So they you have to switch off.

570
00:20:55,360 --> 00:20:58,240
So that's good. Well, well, also this

571
00:20:58,240 --> 00:20:59,919
could be another moment for another

572
00:20:59,919 --> 00:21:01,840
piece of information, which is the

573
00:21:01,840 --> 00:21:03,200
mother could come in with a security

574
00:21:03,200 --> 00:21:06,000
guard because the grandmother

575
00:21:06,000 --> 00:21:08,080
because maybe she's the legal guardian

576
00:21:08,080 --> 00:21:08,799
anyway,

577
00:21:08,799 --> 00:21:09,360
right?

578
00:21:09,360 --> 00:21:12,480
And the mother lied a little bit on on

579
00:21:12,480 --> 00:21:14,080
the admitting form. So,

580
00:21:14,080 --> 00:21:14,720
right,

581
00:21:14,720 --> 00:21:16,000
can't be there anyway.

582
00:21:16,000 --> 00:21:17,039
Yeah. Yeah.

583
00:21:17,039 --> 00:21:18,320
Not supposed to be in the hospital.

584
00:21:18,320 --> 00:21:19,520
Period. The end.

585
00:21:19,520 --> 00:21:21,840
Yeah. Good idea. That's a good idea. I

586
00:21:21,840 --> 00:21:23,600
came up with a line that I like that I I

587
00:21:23,600 --> 00:21:26,320
think uh

588
00:21:26,320 --> 00:21:28,960
I think is good where if the mom says

589
00:21:28,960 --> 00:21:30,880
something like he's my kid for [ __ ]

590
00:21:30,880 --> 00:21:34,799
sake and the older woman says

591
00:21:34,799 --> 00:21:38,600
well that's news to me

592
00:21:38,960 --> 00:21:40,640
or something like that.

593
00:21:40,640 --> 00:21:41,520
Since when?

594
00:21:41,520 --> 00:21:43,679
Yeah, since when?

595
00:21:43,679 --> 00:21:46,880
Um enough to something so mean enough to

596
00:21:46,880 --> 00:21:49,840
stop her in her tracks?

597
00:21:49,840 --> 00:21:52,840
Um

598
00:21:53,120 --> 00:21:58,000
then um I thought uh uh if we want to

599
00:21:58,000 --> 00:21:59,679
build in that there's a there's a a

600
00:21:59,679 --> 00:22:01,200
grandmother and a grandfather, but the

601
00:22:01,200 --> 00:22:05,280
grandfather's outside. Um I had this

602
00:22:05,280 --> 00:22:07,360
idea of feeling like the grandfather

603
00:22:07,360 --> 00:22:09,600
never sees his daughter because he's

604
00:22:09,600 --> 00:22:12,400
she's dead to him.

605
00:22:12,400 --> 00:22:16,880
So, um, if the older woman, uh, uh, says

606
00:22:16,880 --> 00:22:19,520
something like, you know,

607
00:22:19,520 --> 00:22:21,200
uh, he'll he's he'll be fine by the

608
00:22:21,200 --> 00:22:22,799
weekend.

609
00:22:22,799 --> 00:22:25,280
Um, you can come then. Your dad's going

610
00:22:25,280 --> 00:22:26,400
fishing or something, I don't know,

611
00:22:26,400 --> 00:22:28,000
whatever it is that your dad's doing.

612
00:22:28,000 --> 00:22:31,120
So, the the idea is if you're going to

613
00:22:31,120 --> 00:22:33,280
come visit him, come visit him when your

614
00:22:33,280 --> 00:22:34,960
father's not there because you two don't

615
00:22:34,960 --> 00:22:37,280
see each other. So that you two don't

616
00:22:37,280 --> 00:22:39,360
have to see each other.

617
00:22:39,360 --> 00:22:40,799
be better for her to walk by the

618
00:22:40,799 --> 00:22:42,960
grandfather and tell that story between

619
00:22:42,960 --> 00:22:44,320
the two of them

620
00:22:44,320 --> 00:22:46,159
instead of having there's a lot we're

621
00:22:46,159 --> 00:22:47,039
we're jamming

622
00:22:47,039 --> 00:22:48,400
jamming it into that moment. You're

623
00:22:48,400 --> 00:22:48,799
right.

624
00:22:48,799 --> 00:22:50,720
So, I would do it as she walks out.

625
00:22:50,720 --> 00:22:52,480
There he is. And you just can have a

626
00:22:52,480 --> 00:22:53,039
great moment.

627
00:22:53,039 --> 00:22:53,520
Mhm.

628
00:22:53,520 --> 00:22:54,880
But they don't even have to speak.

629
00:22:54,880 --> 00:22:57,120
What I was thinking is is that if she

630
00:22:57,120 --> 00:22:59,200
walks out, she she has to be motivated

631
00:22:59,200 --> 00:23:00,720
to she has to walk out, right? Because

632
00:23:00,720 --> 00:23:02,080
they're making her do it. So, she's got

633
00:23:02,080 --> 00:23:04,960
to walk out. if she walks out and, you

634
00:23:04,960 --> 00:23:06,720
know, heads towards the bathroom and she

635
00:23:06,720 --> 00:23:09,280
sees he's waiting in the waiting waiting

636
00:23:09,280 --> 00:23:11,679
area and you get that she never stops.

637
00:23:11,679 --> 00:23:13,520
She just keeps walking and we dolly and

638
00:23:13,520 --> 00:23:15,039
we see this guy and we know that he's

639
00:23:15,039 --> 00:23:16,240
not going to talk to her. He's not going

640
00:23:16,240 --> 00:23:17,520
to look at her. He looks at her for a

641
00:23:17,520 --> 00:23:18,960
second and then looks back and doesn't

642
00:23:18,960 --> 00:23:20,559
refuses to look at her and she refuses

643
00:23:20,559 --> 00:23:23,840
to look at him or she she she looks at

644
00:23:23,840 --> 00:23:27,039
him but he never looks back at her. Um,

645
00:23:27,039 --> 00:23:29,840
now that that's when the phone can start

646
00:23:29,840 --> 00:23:32,320
ringing, right? the phone can start

647
00:23:32,320 --> 00:23:34,880
ringing again. She's got she's got two

648
00:23:34,880 --> 00:23:37,600
choices. She's got the stupid teddy bear

649
00:23:37,600 --> 00:23:40,320
or she's got the phone that's ringing.

650
00:23:40,320 --> 00:23:42,159
So maybe if it keeps ringing, whether it

651
00:23:42,159 --> 00:23:43,679
rings when she gets to the bathroom or

652
00:23:43,679 --> 00:23:46,799
whether it rings as she's walking

653
00:23:46,799 --> 00:23:48,720
and she's got the phone in one hand,

654
00:23:48,720 --> 00:23:49,919
she's got the teddy bear in the other

655
00:23:49,919 --> 00:23:55,200
hand. Uh maybe she goes back to the dad,

656
00:23:55,200 --> 00:23:57,600
gives the ba dad the teddy bear and just

657
00:23:57,600 --> 00:24:00,720
says and doesn't say anything and then

658
00:24:00,720 --> 00:24:05,039
flips up the phone and the phone is,

659
00:24:05,039 --> 00:24:07,919
you know, it's, you know, be be there at

660
00:24:07,919 --> 00:24:11,279
to where have you been? Be there at

661
00:24:11,279 --> 00:24:15,919
You know, bring your Uzi. No. Uh um you

662
00:24:15,919 --> 00:24:17,360
know, something or other. And she says,

663
00:24:17,360 --> 00:24:20,480
and she agrees. And then if it's a if

664
00:24:20,480 --> 00:24:22,799
it's one of those burner phones, she can

665
00:24:22,799 --> 00:24:25,120
go like that, put it in the trash can

666
00:24:25,120 --> 00:24:26,960
and and you know, as the elevator comes

667
00:24:26,960 --> 00:24:29,039
up and leaves. Now, that may be too

668
00:24:29,039 --> 00:24:30,880
histrionic, but I like the idea that

669
00:24:30,880 --> 00:24:32,320
she's making a choice between these two

670
00:24:32,320 --> 00:24:34,400
things and that it seems kind of like

671
00:24:34,400 --> 00:24:37,279
this absurd choice like

672
00:24:37,279 --> 00:24:39,760
that she kind of slams the gives the

673
00:24:39,760 --> 00:24:41,120
teddy bear to the guy without saying

674
00:24:41,120 --> 00:24:42,720
anything like you're going to need this,

675
00:24:42,720 --> 00:24:43,520
but we're not going to have a

676
00:24:43,520 --> 00:24:44,880
conversation about it. And that the

677
00:24:44,880 --> 00:24:47,520
phone is the thing that she chooses. It

678
00:24:47,520 --> 00:24:50,240
depends on on because we're breaking

679
00:24:50,240 --> 00:24:53,440
from your own experience now in creating

680
00:24:53,440 --> 00:24:56,240
a character and it depends on what kind

681
00:24:56,240 --> 00:25:00,720
of character you want. You know, is she

682
00:25:00,720 --> 00:25:02,559
because there's there's a version where

683
00:25:02,559 --> 00:25:04,559
she's a vulnerable human being who got

684
00:25:04,559 --> 00:25:07,200
out of prison and is trying to connect

685
00:25:07,200 --> 00:25:10,240
desperately with this kid foolishly as

686
00:25:10,240 --> 00:25:14,559
it turns out um um or naively um and

687
00:25:14,559 --> 00:25:17,039
can't do it. Then there's a badass

688
00:25:17,039 --> 00:25:19,039
version where she's going to jam in a

689
00:25:19,039 --> 00:25:21,279
visit with the kid in between this other

690
00:25:21,279 --> 00:25:23,200
thing she's supposed to be doing

691
00:25:23,200 --> 00:25:25,520
and has to get back to it. If that's the

692
00:25:25,520 --> 00:25:27,520
case, you kind of got to hum the key of

693
00:25:27,520 --> 00:25:28,799
that early on

694
00:25:28,799 --> 00:25:31,679
or it'll feel a little bit of a kind of

695
00:25:31,679 --> 00:25:32,960
tonal

696
00:25:32,960 --> 00:25:34,400
cheat at the end.

697
00:25:34,400 --> 00:25:37,039
So you kind of got to give a hint of her

698
00:25:37,039 --> 00:25:39,120
being. So she becomes all these

699
00:25:39,120 --> 00:25:41,200
conversations about being tied down or

700
00:25:41,200 --> 00:25:43,600
this or that becomes the sort of

701
00:25:43,600 --> 00:25:45,679
ignorant questions of somebody who's led

702
00:25:45,679 --> 00:25:49,039
a very cinder block life

703
00:25:49,039 --> 00:25:51,200
and is, you know, not spent a lot of

704
00:25:51,200 --> 00:25:53,440
time in hospitals with kids. She's, you

705
00:25:53,440 --> 00:25:57,120
know, in this situation as opposed to an

706
00:25:57,120 --> 00:25:59,760
overly concerned mother. Now you can

707
00:25:59,760 --> 00:26:03,520
combine the two. She can have her be a

708
00:26:03,520 --> 00:26:05,679
kind of badass who's overly concerned,

709
00:26:05,679 --> 00:26:08,159
but again, it is it coming from real

710
00:26:08,159 --> 00:26:11,360
worry or ignorance or both or, you know,

711
00:26:11,360 --> 00:26:13,520
it's what is she? You just you just

712
00:26:13,520 --> 00:26:15,840
don't want the ending to be feel like a

713
00:26:15,840 --> 00:26:18,880
joke. Oh, is you know, it's it's it's a

714
00:26:18,880 --> 00:26:21,600
it's that short film itis where suddenly

715
00:26:21,600 --> 00:26:23,360
we're bringing in a punchline to

716
00:26:23,360 --> 00:26:24,960
something where we we're answering a

717
00:26:24,960 --> 00:26:26,320
question we haven't really asked.

718
00:26:26,320 --> 00:26:28,159
Right. Right. I like the combo. And I

719
00:26:28,159 --> 00:26:29,760
like the combo. If we're let's just say

720
00:26:29,760 --> 00:26:30,799
we're going to anchor this is not going

721
00:26:30,799 --> 00:26:33,279
to be a short film. This is a two-hour

722
00:26:33,279 --> 00:26:36,400
movie and there's another there's a

723
00:26:36,400 --> 00:26:38,240
whole another plot of somebody who's

724
00:26:38,240 --> 00:26:41,039
trying to resist the person that they

725
00:26:41,039 --> 00:26:43,600
used to be and is isn't able to and sort

726
00:26:43,600 --> 00:26:46,480
of has to go back in because you know

727
00:26:46,480 --> 00:26:48,320
because of fear because of a genuine

728
00:26:48,320 --> 00:26:49,600
fear that something bad is going to

729
00:26:49,600 --> 00:26:52,640
happen to her. um uh because of the

730
00:26:52,640 --> 00:26:54,640
threat of it, because of needing the

731
00:26:54,640 --> 00:26:56,080
money and doesn't know anything else to

732
00:26:56,080 --> 00:26:58,720
do, or as an obligation that there was

733
00:26:58,720 --> 00:27:00,400
someplace that she had to be in order to

734
00:27:00,400 --> 00:27:02,480
to do that. So, I kind of like the

735
00:27:02,480 --> 00:27:03,840
combination of the two, which is a

736
00:27:03,840 --> 00:27:07,520
badass that has this other life. I think

737
00:27:07,520 --> 00:27:09,200
that's interesting. As long as you can

738
00:27:09,200 --> 00:27:11,919
find a way to not make it feel like, you

739
00:27:11,919 --> 00:27:14,640
know, an an exercise in something, but

740
00:27:14,640 --> 00:27:17,360
it's more like the irony of this person.

741
00:27:17,360 --> 00:27:19,360
The more we get to know her trying to be

742
00:27:19,360 --> 00:27:22,320
a mother as opposed to leading with it's

743
00:27:22,320 --> 00:27:24,960
I'm such a worried mom, right? You know,

744
00:27:24,960 --> 00:27:27,120
right? Have that cuz that's,

745
00:27:27,120 --> 00:27:31,120
you know, worry, anger, grief, guilt,

746
00:27:31,120 --> 00:27:33,520
all that stuff gets old super fast. Yep.

747
00:27:33,520 --> 00:27:35,440
So, you can't overplay it. you start to

748
00:27:35,440 --> 00:27:37,279
get annoyed. You know, I want to usher

749
00:27:37,279 --> 00:27:39,039
the mom out of the room. The third time

750
00:27:39,039 --> 00:27:40,880
she says, "Is the mask too tight?"

751
00:27:40,880 --> 00:27:42,720
Right? And you want to actually maybe

752
00:27:42,720 --> 00:27:45,679
she just doesn't you want to be careful.

753
00:27:45,679 --> 00:27:47,679
It's part of her experience, part of her

754
00:27:47,679 --> 00:27:49,120
ignorance, but we don't want to

755
00:27:49,120 --> 00:27:51,200
overplay. We don't want to make her

756
00:27:51,200 --> 00:27:52,000
hysterical,

757
00:27:52,000 --> 00:27:53,120
right? No, I'm with you.

758
00:27:53,120 --> 00:27:54,880
So, if she's worrying, and I would be

759
00:27:54,880 --> 00:27:56,000
more interested in somebody who's

760
00:27:56,000 --> 00:27:57,600
worried without being hysterical,

761
00:27:57,600 --> 00:27:58,399
right? Oh, yeah.

762
00:27:58,399 --> 00:28:00,240
And actually steps in to tighten the

763
00:28:00,240 --> 00:28:01,600
mask because she doesn't feel listened

764
00:28:01,600 --> 00:28:03,120
to, right? Because she's tough.

765
00:28:03,120 --> 00:28:05,679
Yeah. Good. Good. good.

766
00:28:05,679 --> 00:28:07,360
You know, and they're like, "Okay, maybe

767
00:28:07,360 --> 00:28:09,440
you should wait outside." So, she's not

768
00:28:09,440 --> 00:28:11,360
a shrinking violet. She's not

769
00:28:11,360 --> 00:28:12,000
right. Yes.

770
00:28:12,000 --> 00:28:12,480
You know.

771
00:28:12,480 --> 00:28:14,080
Yeah. Good.

772
00:28:14,080 --> 00:28:16,320
Yeah. There was a little um you know,

773
00:28:16,320 --> 00:28:18,720
just you know, there's the part of

774
00:28:18,720 --> 00:28:21,360
figuring out who the the actor part of

775
00:28:21,360 --> 00:28:24,480
me. Um I always love the challenge of

776
00:28:24,480 --> 00:28:26,559
playing two things at once. So, I love

777
00:28:26,559 --> 00:28:28,640
the challenge of being playing the one

778
00:28:28,640 --> 00:28:30,799
thing on the outside and then showing

779
00:28:30,799 --> 00:28:32,480
you the little bits and pieces of the

780
00:28:32,480 --> 00:28:33,919
stuff that's on the inside. And then the

781
00:28:33,919 --> 00:28:35,840
unconscious stuff that even I don't

782
00:28:35,840 --> 00:28:39,279
understand that the that the actor will

783
00:28:39,279 --> 00:28:40,960
demonstrate

784
00:28:40,960 --> 00:28:43,039
just through the experience without even

785
00:28:43,039 --> 00:28:44,480
the without even the character

786
00:28:44,480 --> 00:28:46,559
understanding their own motivations,

787
00:28:46,559 --> 00:28:48,399
right? And a person who's there's

788
00:28:48,399 --> 00:28:49,679
nothing better than a person who's

789
00:28:49,679 --> 00:28:51,360
competent at one thing and struggling

790
00:28:51,360 --> 00:28:52,399
with something else,

791
00:28:52,399 --> 00:28:54,720
right? and that's fun to write, fun to

792
00:28:54,720 --> 00:28:57,600
play, fun to, you know, so she's pretty

793
00:28:57,600 --> 00:29:01,200
tough and, you know,

794
00:29:01,200 --> 00:29:03,200
um, able to deal with a lot of

795
00:29:03,200 --> 00:29:06,480
situations except this.

796
00:29:06,480 --> 00:29:09,120
Yes. Yeah. All right. Well,

797
00:29:09,120 --> 00:29:09,919
he continued

798
00:29:09,919 --> 00:29:11,440
and I'm going to call you back later

799
00:29:11,440 --> 00:29:14,399
just to ask you how it actually went.

800
00:29:14,399 --> 00:29:16,159
God damn it. Why' you tell me to do that

801
00:29:16,159 --> 00:29:19,039
[ __ ]

802
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Bye.

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In the beginning of getting a movie

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together, uh when you finally maybe get

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your green light and you're ready to go,

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uh you're going to have to start

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assembling a language, uh visual

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language, a sound language, a musical

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language, all of the different languages

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that are going to come to play in your

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to accomplishing your screenplay. and

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you're going to start hiring people

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piece by piece. You're going to have to

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talk to them about what's in your heart.

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What are you thinking? Um, and you can

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use anything that feels comfortable to

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do that. Um, sometimes you can use

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images, you know, images that might have

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come off of your iPhone or that might

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have come from books uh at the library.

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You can see that I have a bunch of of

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iPhone images in the back of us that uh

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I might I might put together in a little

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book and show to the cinematographer or

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to the production designer um about

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ideas that I might have for locations or

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what things would look like or colors or

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framing um uh how to, you know, how how

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to achieve movement, you know, ideas

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that I have about movement or maybe even

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just references from paintings, um

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references from mythology, for example.

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Um, anything that that helps you have a

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dialogue um will work. It can be movies.

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You can show uh ideas from films uh

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moving images that you've seen. Um but

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first and foremost comes the emotional

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and character-driven dialogue that you

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start about your movie.

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I always like to use an emotional

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language um to start with. So instead of

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saying for example

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um I'd like you to make the light bright

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and uh I want you to shine it on the

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actor's face and I want it to be darker

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behind. I might say to start with I

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might say I want a feeling of the

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character being isolated. I want a

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feeling of just of of being inside their

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face and not and having them floating

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and not really knowing exactly where

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they are in the world because they're

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disembodied. Um, I start with that

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language and then we move into the

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techniques that allow us to get there.

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We're always uh translating each other.

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So, um, we're always using different

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languages in order to speak to each

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other on a set. You have 175 people,

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perhaps more that have different

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expertises. Um, with a director of

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photography, for example, you may speak

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very differently than you might with a

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with a composer. Um, that's why an

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emotional language, starting with an

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emotional language is always the right

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place. Um I always see people sometimes

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uh young filmmakers can get overwhelmed

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because they think that there are they

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look at the movie and they see that they

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have you know a schedule of 35 days and

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they have so much to accomplish and they

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have so much to say and they can get

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mired down in all of the technique and

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the technology that they may understand

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or not understand and the truth really

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asking that very simple question. Is it

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true or is it not true? Is it real? Is

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it not real? Is this true to my

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experience? Is this what I really

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believe? And um that process of wanting

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to communicate more of yourself towards

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the other is really the most important

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question that you have to ask. And

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that's really the language that you use

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the most.

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Oh, there's a series of people that you

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hire first and the list, you know,

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usually starts with um just for

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practicality sake. Uh maybe it'll start

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with a line producer, the person who's

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going to create that budget and that

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schedule. Um and they are probably the

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person that's going to um get involved

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with bringing all of the other people to

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be interviewed, all the other crew

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members to be interviewed. Um the next

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person probably is your production

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designer and maybe your location

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manager. Uh they're going to go out and

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look at locations together. Um after

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they've had these conversations with

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you, they're going to go out places.

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They're going to send you photos or

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they're going to send you videos back.

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Um, the production designer will usually

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come to the meeting with some kind of

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visual material to show you. Uh,

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sometimes it's paintings, sometimes it's

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stills, sometimes it's black and white

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photography, even though you may not be

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shooting in black and white. Next person

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you bring in and that you're hoping for

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is a director of photography. Uh, it's

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an incredibly important position. It

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works in concert with the production

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designer. And um, a director of

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photography really usually is, even

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though they might be quite versatile,

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it's they usually have a strong

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signature. there's usually something

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that they do that they do better than

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anyone else. There's a a a style that

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they're attracted to. There are some

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production there's some directors of

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photography they can do everything. But

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I would say that in general um directors

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of photography are are focused on a

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certain type of storytelling. Um and you

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know so that makes it easier in some

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ways to go look for somebody. you're

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saying like, you know, um I love how

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Scorsesei uses lots of red and use lots

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of color and uses all of these kind of

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very self-conscious movements and and

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maybe I would like to have the film feel

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a little bit like um what this

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particular DP was doing in that movie

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and and then bring and have a look at

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that person's work. Um but occasionally

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you'll get a director of photography

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that's just incredibly versatile and it

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does every different kind of movie. Uh,

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Matty Libertique and Money Monster,

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wonderful DP, does every kind of film.

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And really what you're looking for is

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how you're going to have a conversation

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with this person. Um, you know, how are

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you going to communicate with this

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person? And, um, is it somebody that

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you're going to want to spend all this

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time in the trenches with? Is it

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somebody who's going to be scared to

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tell you no? Uh, somebody who, uh, very

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often the the director of photography

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has a language that you don't possess.

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Um, I don't know about you, but I really

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can't read those light meters, and I

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don't know what they're saying, and I

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can't go to the lab and talk to them

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about color temperatures. Um, I'm really

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relying on him to translate those things

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for me. And so, he has to be able to

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really be the chief of of his own u

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strange and and and fascinating but

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unescribable work that he does. Um, so I

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have to really rely on him that he's

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going to make the right decisions. He or

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she is going to make the right

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decisions. After

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you've um uh gone through uh really

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downloaded your thoughts with all of the

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technicians, um one of the first things

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that I do um whether it's while we're

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scouting um is that I start making a

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chronological list. And that list starts

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at scene one and ends at the last scene.

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and I start downloading all of the

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thoughts that I have all the decisions

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that I've made in prep with all of my

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different technicians. So, it might say,

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uh, first AD, uh, we're talking 40 or 50

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extras in this scene, and I want to make

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sure that everybody's moving very fast

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because this is a fast-paced, uh, you

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know, it's a it's a racetrack, and

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everybody's moving very fast to where

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their destinations are. Um, or it may

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say for the DP, it may say, um, let's

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make sure that everything is quite

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horizontal. where you're having this

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very horizontal flat feeling like it's

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the Midwest and uh there's nothing that

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will be too high or too low or I'll say

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um this is a film a film really that is

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about loneliness and about a man that's

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separate so I want to make sure that he

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feels disembodied and that there's a lot

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of um there's a lot of uh negative space

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on on one side of the frame or on the

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other side of the frame. So, let's keep

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the right hand side of the frame

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completely empty and unlit, for example.

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You know, if if that's something that

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I've said to the DP, I'll write that

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down on my list. And pretty soon, you

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start realizing that, wow, I've really

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made a list from one to 100 on these on

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these particular sequences. There may be

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um uh the stage part, maybe if you're

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building a set, maybe you don't fill all

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that in because you can control things,

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you can control lighting, so there isn't

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you don't have to figure out everything.

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Uh but you also have to know that no

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matter how many of these decisions that

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you've made that you've listed that you

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are flexible enough that on the day

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things may change. Uh once you've

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finished this and you have a clear

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understanding of where the film is

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headed, you maybe have scouted all of

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your locations, maybe you've locked in

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your locations, uh you've brought your

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cast together and um it's getting ready

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to shoot day. Um that is when I print

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out my list. I hand it over to all the

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department heads so that they can be

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familiar with what I'm thinking. And

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sometimes I refer to it, but most often

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I leave it locked in a drawer because

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the surprises that I have are often more

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important than the things that I've

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planned. And the things that I've

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planned because I wrote them down

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probably live inside me anyway.

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I've brought one of these kind of

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inontinuity uh workbooks. uh that I hand

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out to the department heads right before

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I'm starting shooting. Uh I we seem to

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have found one from when I was very

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young for Little Man Tate. Um and this

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is the first time that I ever did one of

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these. Well, I'm looking in here and

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then I guess it's scene 162 and onward.

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Um it's a scene that I um uh that

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happens in two different two separate

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places. Uh Fred is separated from his

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mother and he is with his teacher Jane

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Greersonen. Um he has gone on a talk

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show for prodigies where he's sort of

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being exploited like a little young

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celebrity and they're trying to make him

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perform seal tricks and he

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uh revolts for the first time. What I

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really liked about the scene uh was this

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disembodied television set that you have

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this

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face uh that is prisoner on a television

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set. this closeup of this little boy

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who's in in in prison really. Um that

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he's disembodied, that he's kept from

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his mother and he's he's he's he's even

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kept from his u from his teacher that

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he's somewhere in this limbo land. Um

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you'll might see that reflected in some

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of these um discussions. Maybe not. I

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feel like that's what ended up on screen

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and that might have been there

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unconsciously, but you definitely will

269
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see some direction uh that I was looking

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for from the crew. you know, probably

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the first entry for the scene, uh, you

272
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know, is is really an overview and it

273
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makes sense. Uh, I said the beginning of

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the scene should not make a big deal out

275
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of Fred on the TV so that we don't

276
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expect him to blow it. So, we shouldn't

277
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move in on Dee until much later on.

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Let's keep a sense of the outside. Even

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when we're inside, she's straddling

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these two worlds. Um, you know, there's

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there's no big words in that paragraph.

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Uh, there's nothing earthshattering. Um

283
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I there's no really technological

284
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dialogue. I didn't talk about camera

285
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moves or dollies or lenses. Um this was

286
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really just a naive 26 or 27year-old

287
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really talking about um things that I

288
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wanted people to remember that I wanted

289
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the director of photography to remember

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that I wanted the editor to remember. Um

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just so that we always had the eyes on

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the prize of what the scene was really

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about. Um as the years have gone on, of

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course, I fill in the blanks. Uh in

295
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terms of technique, I think I fill in

296
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the blanks a lot thicker. Uh but in

297
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those days at a young age I think I was

298
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really just wanted to be very clear of

299
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what the basics of what I was looking

300
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for and that clarity is very helpful for

301
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a crew. You certainly find things for

302
00:11:14,880 --> 00:11:18,000
sound for example or for editing or for

303
00:11:18,000 --> 00:11:20,800
the ads uh for them to remember. Um

304
00:11:20,800 --> 00:11:22,079
let's see if I can find an entry that

305
00:11:22,079 --> 00:11:24,320
might be of interest. Sound we should

306
00:11:24,320 --> 00:11:25,519
have a click track ready for the

307
00:11:25,519 --> 00:11:29,040
interior dancing. Some playback for MOS

308
00:11:29,040 --> 00:11:31,200
mid out sound that should be timed in

309
00:11:31,200 --> 00:11:32,800
conjunction with optimal editing. Let's

310
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make sure that the chosen swing playback

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has an easily placeable Lindy beat. Um,

312
00:11:38,560 --> 00:11:40,000
you know, just these are all things that

313
00:11:40,000 --> 00:11:41,839
you need to prep before you start

314
00:11:41,839 --> 00:11:44,720
shooting. Um, sadly, uh, you know, you

315
00:11:44,720 --> 00:11:48,560
have to know what beats the, uh,

316
00:11:48,560 --> 00:11:50,399
musically things are going to land on.

317
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Even if you're just using a playback

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track that's not the final, uh, if not,

319
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it won't edit together properly. So, you

320
00:11:56,480 --> 00:11:57,839
want to make sure that what you're using

321
00:11:57,839 --> 00:11:59,519
on the day in production, even though

322
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it's not final, should have the correct

323
00:12:01,200 --> 00:12:02,800
beats that you're going to need for the

324
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final for the final uh soundtrack. Maybe

325
00:12:05,279 --> 00:12:07,279
you're not a list maker. Maybe you just

326
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in fact I I remember talking to Bob

327
00:12:08,959 --> 00:12:10,800
Zmechus uh who couldn't make more

328
00:12:10,800 --> 00:12:12,800
elaborate films. I mean, incredibly

329
00:12:12,800 --> 00:12:15,279
complicated, lots of CGI. And he said to

330
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me, I never write anything down. I'm

331
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just somebody who talks and

332
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communicates. Um his films are

333
00:12:19,600 --> 00:12:21,440
incredibly wellprepared and he is

334
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terribly thorough. and he understands

335
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and trusts that on the day he will come

336
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up with something and invent something

337
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and he always does. So not everybody has

338
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to far follow some formula of how to do

339
00:12:31,680 --> 00:12:33,920
it. In fact, I would say to you, u don't

340
00:12:33,920 --> 00:12:35,680
look at other people's formulas. Try to

341
00:12:35,680 --> 00:12:38,079
devise your own. You know, what is your

342
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best preparation? How do you work best?

343
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What is your best focusing tool? And how

344
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can you communicate more of yourself to

345
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the people that need to hear what your

346
00:12:46,240 --> 00:12:49,480
vision is?

347
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Every choice that you make as a director

348
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and every choice that you make as an

349
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actor is meaningful. They're not

350
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arbitrary. Um, I think that's the best

351
00:13:01,600 --> 00:13:04,560
thing about making films. You uh choose

352
00:13:04,560 --> 00:13:06,720
a a lens for a reason. You choose a

353
00:13:06,720 --> 00:13:08,240
light for a reason. You choose a prop

354
00:13:08,240 --> 00:13:10,079
for a reason. Occasionally, there are

355
00:13:10,079 --> 00:13:11,600
things that are just instinctual that

356
00:13:11,600 --> 00:13:14,000
just come out of nowhere. But for the

357
00:13:14,000 --> 00:13:16,720
most part, we're trying to control the

358
00:13:16,720 --> 00:13:19,279
image and we're trying to create an

359
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evolution of the story from the

360
00:13:20,639 --> 00:13:22,639
beginning to the end and to see how it

361
00:13:22,639 --> 00:13:25,519
changes. So, you have to make those

362
00:13:25,519 --> 00:13:28,079
decisions based on an inner monologue

363
00:13:28,079 --> 00:13:31,279
that you have. Um, some of that is

364
00:13:31,279 --> 00:13:32,639
structural about the structure that

365
00:13:32,639 --> 00:13:34,639
you're trying to hit, but some of it is

366
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just personal and instinctual. I think

367
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that there's a there's a very simple way

368
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of approaching work as an artist. Um, if

369
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you can walk onto a set or if you can

370
00:13:44,720 --> 00:13:48,399
walk on to uh out into the world and

371
00:13:48,399 --> 00:13:50,560
talking to your crew, u one of the most

372
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important questions to ask is, is it

373
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true or is it not true? is this choice

374
00:13:54,800 --> 00:13:57,040
that I'm making, these series of choices

375
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that I'm making, do they feel real? Do

376
00:13:59,440 --> 00:14:01,040
they feel honest? Do they feel true? Do

377
00:14:01,040 --> 00:14:03,199
they communicate what I'm trying to say?

378
00:14:03,199 --> 00:14:07,279
And um whether you're deciding

379
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uh whether your Martian character is

380
00:14:09,120 --> 00:14:10,800
going to wear a blue shirt or a green

381
00:14:10,800 --> 00:14:12,800
shirt, that's really the one question

382
00:14:12,800 --> 00:14:14,320
you have to ask. You know what is true

383
00:14:14,320 --> 00:14:16,720
to that character.

1
00:00:06,480 --> 00:00:08,080
So, we managed to drag out some

2
00:00:08,080 --> 00:00:09,760
storyboards from The Beaver, uh,

3
00:00:09,760 --> 00:00:12,000
executed by a much better storyboard

4
00:00:12,000 --> 00:00:14,639
artist than myself, thank goodness. Um,

5
00:00:14,639 --> 00:00:16,720
you'll be able to see how we constructed

6
00:00:16,720 --> 00:00:18,480
quite a difficult scene. We were dealing

7
00:00:18,480 --> 00:00:21,439
with, um, it is the scene where Walter

8
00:00:21,439 --> 00:00:23,279
attempts suicide. He's had a night of

9
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drinking. He's distraught. He's

10
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depressed. and he decides to try to kill

11
00:00:27,760 --> 00:00:29,679
himself uh by hanging himself on a

12
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shower curtain rod. Um he even messes

13
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that up and uh the shower curtain rod

14
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falls and he is in the bathtub. He drags

15
00:00:37,440 --> 00:00:39,600
the curtain rod with him out to the

16
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balcony. Uh we notice that he still has

17
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this puppet on his hand that he's

18
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forgotten about. Um he drags the the the

19
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shower curtain out to the balcony and he

20
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climbs up onto the railing. He thinks

21
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about his life and about that one moment

22
00:00:56,160 --> 00:00:57,760
where he's about to throw it all away

23
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and about to finally kill himself. And

24
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the beaver puppet pops up into his face

25
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and says, "Oi."

26
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And at that confusion of that sends him

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backwards,

28
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falling backwards into a stunt, of

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course, where he hits the television set

30
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which comes crashing on his head and

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knocks him out.

32
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[ __ ]

33
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mother.

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boy.

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We needed to storyboard that sequence

36
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because it involves a man hanging in a

37
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curtain ro with a over a curtain rod

38
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falling into a bathtub. Uh dragging this

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curtain rod standing over the railing of

40
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a hotel. Obviously, this is dangerous.

41
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Falling backwards and having a big

42
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television set fall on his head. Uh we

43
00:03:00,560 --> 00:03:02,239
needed to be very meticulous about how

44
00:03:02,239 --> 00:03:03,840
this was going to be executed and how it

45
00:03:03,840 --> 00:03:05,840
was going to be cut together. um

46
00:03:05,840 --> 00:03:07,840
obviously to keep the actors safe, but

47
00:03:07,840 --> 00:03:09,599
more importantly in order to tell the

48
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story beats that we needed to tell as

49
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economically as possible. So I'll grab

50
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my storyboards.

51
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Um

52
00:03:23,120 --> 00:03:25,840
uh as you can see, we start off on the

53
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or at least the storyboards start off on

54
00:03:27,920 --> 00:03:31,200
the curtain rod and him attaching his

55
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neck tie and we boom down into a uh

56
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profile of Walter. Uh then I like to

57
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jump back to this wide frame and the

58
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film was filmed in anamorphic uh ratio,

59
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the sort of wider ratio with these

60
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lovely anamorphic lenses. So it allows

61
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you to have this very uh you know

62
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painterly vision of this distraught man

63
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um standing in the bathtub with a

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necktie attached to him. A very sad

65
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image uh with a lot of negative space on

66
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both sides. Um Walter's feet step up.

67
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So, we see his feet step up onto the uh

68
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onto the bathtub and we boom up from his

69
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uh we have to boom up a little bit from

70
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his feet and we go all the way to the so

71
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that we see him uh about to hang. Uh

72
00:04:17,199 --> 00:04:20,479
then we cut to a frontal where he's uh

73
00:04:20,479 --> 00:04:23,280
tightening this noose. It felt important

74
00:04:23,280 --> 00:04:25,919
to me to add these pieces to not have it

75
00:04:25,919 --> 00:04:28,720
all play in this uh big wide shot in

76
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this lonely wide shot. uh we need to

77
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understand that this man is about to

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commit suicide and that this is agony

79
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for him. It's important to see that on

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his face to see him be distraught. One

81
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of the things that is of concern in this

82
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sequence is that the film is kind of a

83
00:04:44,320 --> 00:04:47,360
black comedy. Um there are black comedy

84
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quirky elements to it. So yes, it is a

85
00:04:50,880 --> 00:04:52,080
sad movie about somebody who's

86
00:04:52,080 --> 00:04:54,000
attempting suicide, but we have some

87
00:04:54,000 --> 00:04:55,840
quirky parts to it. So, we don't want to

88
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have the suicide in some ways be so

89
00:04:58,160 --> 00:05:01,040
histrionic or so melodramatic or so

90
00:05:01,040 --> 00:05:04,000
drama oriented that we can't get back to

91
00:05:04,000 --> 00:05:06,560
that little quirky black humor. Um, so

92
00:05:06,560 --> 00:05:08,080
you'll see a little bits and pieces of

93
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quirky black humor that enter in there.

94
00:05:10,240 --> 00:05:16,320
Um, uh, he we we go to his feet and uh

95
00:05:16,320 --> 00:05:18,400
look at the the choice that he's making.

96
00:05:18,400 --> 00:05:19,759
These feet are the choice that he's

97
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making. Do I do I step off this ridge or

98
00:05:22,320 --> 00:05:25,360
not? um that allows us to go to this

99
00:05:25,360 --> 00:05:26,960
extreme close-up. So, that's a

100
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transition in between a uh a medium

101
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close-up where we got the neck tie in.

102
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Otherwise, we wouldn't see the necktie

103
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if we were too tight. Uh we have a

104
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transition piece on the feet, which

105
00:05:37,280 --> 00:05:40,639
allows us to get to go into closer on

106
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Walter. I wanted to see the choice on

107
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his face. In order to have his head drop

108
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out of shot, I need to be quite tight.

109
00:05:46,880 --> 00:05:48,800
Um obviously, I can't show the hanging

110
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of a man. uh even uh there there not

111
00:05:52,240 --> 00:05:54,639
only would it be violence but also I

112
00:05:54,639 --> 00:05:55,840
think didn't really doesn't really help

113
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the tone of what we're trying to do. So

114
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uh this close-up will be a close-up of

115
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somebody and then we'll see the choice

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00:06:01,440 --> 00:06:03,199
actually happen. We'll see him drop out

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of the shot. Um, we I'm not sure when we

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00:06:06,639 --> 00:06:08,000
when you see the actual sequence in the

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00:06:08,000 --> 00:06:09,440
movie, you'll see whether we kept the

120
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whole thing or whether we cut it off

121
00:06:11,039 --> 00:06:14,000
quickly, but um it allows us to have

122
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that tension that's going to happen or

123
00:06:15,840 --> 00:06:19,199
that that um uh the the movement that's

124
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going to happen uh that happens in

125
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seconds once he makes that decision. So,

126
00:06:23,120 --> 00:06:25,360
it's very slow up at the top before he

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makes the choice and then it moves into

128
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something that has much more drama as

129
00:06:29,120 --> 00:06:31,919
the choice is being made. Um, so these

130
00:06:31,919 --> 00:06:36,639
are quick cuts after this of um, uh, his

131
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feet, then of Walter hanging, but very

132
00:06:40,479 --> 00:06:43,600
quickly the rod is going to give way. So

133
00:06:43,600 --> 00:06:45,840
we have an insert kind of on this rod

134
00:06:45,840 --> 00:06:49,360
giving way. Um, that allows us to, you

135
00:06:49,360 --> 00:06:51,199
know, make these cuts be quicker, but

136
00:06:51,199 --> 00:06:52,880
also gives us that almost comedy

137
00:06:52,880 --> 00:06:54,639
feeling, right? So he can't even do

138
00:06:54,639 --> 00:06:56,000
that, right? He can't even commit

139
00:06:56,000 --> 00:06:58,960
suicide, right? Even the shower rod is

140
00:06:58,960 --> 00:07:00,880
going to is going to break. You'll

141
00:07:00,880 --> 00:07:02,880
notice that uh when you see the body

142
00:07:02,880 --> 00:07:04,639
hanging that you have these top shots,

143
00:07:04,639 --> 00:07:06,800
these kind of off-kilter top shots. Uh

144
00:07:06,800 --> 00:07:09,759
we do that a lot in this movie. It's an

145
00:07:09,759 --> 00:07:12,800
omnisient point of view. Um the film

146
00:07:12,800 --> 00:07:14,720
very often goes to this omnisient point

147
00:07:14,720 --> 00:07:17,599
of view where it's high or it's very low

148
00:07:17,599 --> 00:07:19,280
because let's not forget that it's not

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Walter who's narrating the film, it's

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the puppet. So, the beginning of the

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movie in some ways is told from the

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point of view of this crazy man's

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construction of a beaver puppet that's

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speaking with a British accent. Our

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character is not British. This is just a

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construction. It allows us to have the

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quirkiness and to have a little bit of

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remoteness from our our narrator. We

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understand that Walter has separated

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himself, that he is separating himself

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in order to survive. This separation is

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his survival tool. And the puppet is not

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Walter. It is what Walter is becoming.

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The last shot which was very important

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to me is I wanted this just very flat

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funny shot of uh the uh Walter sitting

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in the bathtub. The shower rod has

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already come down. Um he's laying in the

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bathtub with his feet out in this kind

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of gangly pose. And before his head can

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poke out, we see the beaver puppets as

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if, you know, the beaver is is is kind

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of crawling out of the uh of the of the

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bathtub. Um, now the beaver is always on

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his left hand, so there was a little bit

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of a construction to that, right?

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Because normally you would grab with

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your right hand, but we weren't able to

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do that. So we had to figure out a way

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to get that left hand kind of uh coming

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up. Uh when you're doing these story

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boards, you always take into

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consideration all of those logical

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details that you cannot change. The

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beaver puppet is always on his left

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hand. If we are uh if we are looking

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from this direction, let's say we're

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looking from this opposite direction,

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we're again we might as we're doing

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this, you know, we might only see the

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back of the beaver's head. So we always

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take those things into consideration.

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You know, where are the props? Where

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will they match? you know, which side of

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camera are we going to use in terms of

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our coverage in order to figure out the

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best way to get inside the experience?

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We're always in this movie, always

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dealing with the relationship between

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Walter and his puppet on his hand. This

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wide shot here not only lets you stand

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back and breathe and um gives you a a

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sort of a more uh clinical look at the

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situation, but it also reminds you this

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is slightly a comedy. The scene

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continues. uh the uh there's a a kind of

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a a funny cut sort of a hard cut that

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happens after we leave the bathtub and

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there's a time transition and we see is

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a shower rod being dragged. So it's an

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instant we go from a wide shot to a very

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tight shot. Um this is probably a good

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idea when you're uh when you're looking

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at uh how to create a sequence. Um, you

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don't usually go from a close insert of

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something to another insert of something

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else unless you're looking at details,

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but usually you're going to want to go

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from a wide to something that has um

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that is that that that is quite a bit

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tighter. That's a good transition. And

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in this case, uh, the transition is sort

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of a funny one. We're following the

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shower rod and as we're moving, we pan

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up from the shower rod to reveal that it

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is attached to a man who's dragging it.

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This is a pretty tough shot to get. Um,

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and once again, that's why we

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storyboarded it so that we could be

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clear about what we were looking for.

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Um, especially tough to get because

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we're shooting anamorphic lenses, uh,

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quite wide lenses. And in order to get

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something that is on the ground and to

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move up to a man's six foot height,

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that's kind of a long way to go. That's

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a big pan. Uh, so what we realized was

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helpful was to have him walking away

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from us. And so as we pan up, uh, we

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he's he's walking away from us and then

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he grows in the, uh, he doesn't grow in

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the frame. gets smaller in the frame in

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fact and we're able to contain every all

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the bits of information that we need. So

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here we have a story board. You're going

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to see when you see the film it looks

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quite a bit different when you see the

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film. We got to the set and we realized

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like oh well we have different

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exigencies and we have to be flexible.

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We're not just going to get stuck to our

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storyboard. We're going to look at the

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real location and see what we can do

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once we have a lens in place.

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Um, there's a sequence at there's a shot

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at the end of this where he looks down

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and he sees parked cars as if, oh boy,

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this is this is where I'm going to fall

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to. So, we have Walter in this very um

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very kind of lonely profile. He's making

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his choice and there's a kind of

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romantic shot where the the camera

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starts here and moves around to the

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front of his face. and um as he's about

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to make that decision once again. If you

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remember, he made the decision in order

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to hang himself in the bathtub. But that

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decision was a little quicker and

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funnier. This one is going to be a

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little has a little more tension to it.

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This is one is going to be a little bit

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sadder. This is this could be the final

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one. Um and we move around his face to

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that final decision. And up pops the

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beaver puppet who I believe says, "Oi."

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And um

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uh the beaver puppet pops into frame. So

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that's the surprise. Um it turns his

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head. So we've already made a decision

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that he's going to turn his head. And uh

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that head turn motivates

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um an over the shoulder from the

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beaver's point of view that uh has a

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beaver a piece of the beaver in the

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shot. So that's your over the shoulder

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and uh Walter looking at him in a

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surprised way. And that allows Walter to

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fall out of the frame. Okay. So now the

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camera can't see him so that we can then

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transition into a wider shot that will

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be either um that probably might be a

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stunt man um where the stunt man is from

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the back and he's falling towards the

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camera. So, one of the ways to get to a

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stunt shot where you're going to have a

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stunt man, uh, or a shot that's, um, you

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know, has all the movement to it is to

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cut from a tighter shot that allows the

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actor to fall out of frame. His falling

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movement will then transition into the

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falling movement of the next shot.

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Uh, we have a closeup of the television

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set. Um,

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I don't remember. Oh, the television

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set, I believe, is playing the Sex

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Pistols. I'm pretty sure that's You

307
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might not catch that, but I believe that

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the television set is playing the Sex

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Pistols. U as you know, the Beaver is

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British, and there was a little illusion

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to that that somehow he's being

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clobbered by the British Sex Pistols,

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and maybe that's, you know, what changed

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his mind about what accent that he would

315
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have. Um the uh the the television set

316
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comes towards the camera as if the

317
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camera's point of view is Walter's point

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of view. a reaction shot on Walter as he

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sees the TV set coming towards us and

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then we we're able to go to black from

321
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that. I very very specifically worked

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this out with Kyle Kllin, the writer on

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the Beaver and um he he really thought

324
00:14:07,600 --> 00:14:09,680
through the how the sequence would be

325
00:14:09,680 --> 00:14:12,800
built about when he falls and we took

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into consideration the exigencies of the

327
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camera and what we were going to need

328
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for the stunts and then we rewrote the

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script accordingly. And the reason that

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I do that and the reason that I always

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if I have information, I really do like

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00:14:24,320 --> 00:14:26,720
to download it onto the script is that

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00:14:26,720 --> 00:14:28,160
150 people are going to arrive on a

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Monday morning who may not be privy to

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all the conversations that you've had

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and they're going to have to bring to

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the table their expertise. They're going

338
00:14:35,600 --> 00:14:36,800
to have to bring props. They're going to

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00:14:36,800 --> 00:14:40,240
have to bring uh uh paper towels to mop

340
00:14:40,240 --> 00:14:41,680
things up if there's a water glass that

341
00:14:41,680 --> 00:14:44,079
goes over. They're going to have to uh

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the uh set decorator is going to have to

343
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have multiple TV sets. Uh maybe there's

344
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going to be a a false TV set that that

345
00:14:51,920 --> 00:14:53,519
won't really hurt the actor or the

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00:14:53,519 --> 00:14:55,199
shards are not real shards. You know,

347
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there are any number of things a quest

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uh uh tools that we're going to need and

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they have to have all of this

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information. So the writer and I would

351
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start out by working through the exact

352
00:15:06,399 --> 00:15:08,079
mechanics of how this is going to be

353
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applied onto screen. Then we bring all

354
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of the other department heads in and

355
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then we create a document uh which is

356
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the scripts. We also create a second

357
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document which is the storyboards. Uh a

358
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third document which is our shot list, a

359
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fourth document which is me talking

360
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about what I was hoping for from the

361
00:15:26,079 --> 00:15:27,279
movie and what I was hoping to get out

362
00:15:27,279 --> 00:15:28,880
of it. And anybody who's doing their

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00:15:28,880 --> 00:15:30,720
homework and paying attention is going

364
00:15:30,720 --> 00:15:32,399
to have all of these documents to be

365
00:15:32,399 --> 00:15:34,320
able to pull from and say, you know,

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what type of TV set should I get? What

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type of shag carpeting would there be in

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this hotel room? Um what what's playing

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00:15:41,839 --> 00:15:44,560
on the TV and why is it playing that? So

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all of these choices are hopefully made

371
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in prep and then you arrive on the day

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and if you are incredibly prepared and

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00:15:51,680 --> 00:15:54,399
organized the actor only has to do the

374
00:15:54,399 --> 00:15:56,880
scene a few times. We do it very very

375
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fast so that the actor is there has

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their moment and we are there expertly

377
00:16:01,120 --> 00:16:03,759
to capture it. I believe that this

378
00:16:03,759 --> 00:16:05,600
sequence is pretty close to what we had

379
00:16:05,600 --> 00:16:07,600
storyboarded. That's not always true. I

380
00:16:07,600 --> 00:16:09,360
storyboard very little uh because I

381
00:16:09,360 --> 00:16:11,199
don't necessarily always think in a

382
00:16:11,199 --> 00:16:13,839
storyboard way. I'd rather get into the

383
00:16:13,839 --> 00:16:15,360
locations, look at the locations, look

384
00:16:15,360 --> 00:16:16,720
at the actors, and figure out what the

385
00:16:16,720 --> 00:16:18,639
scenes are and think about it through

386
00:16:18,639 --> 00:16:20,560
the characters point of view. But

387
00:16:20,560 --> 00:16:22,160
storyboards can be helpful, especially

388
00:16:22,160 --> 00:16:23,759
for the rest of the crew. Once you see

389
00:16:23,759 --> 00:16:25,759
the scene, you know, hopefully you fall

390
00:16:25,759 --> 00:16:27,600
into it and you don't notice all the

391
00:16:27,600 --> 00:16:29,040
little bits and pieces that it took to

392
00:16:29,040 --> 00:16:31,120
get

1
00:00:06,560 --> 00:00:08,480
So, after our last discussion, Scott

2
00:00:08,480 --> 00:00:10,559
went away like a busy little elf and

3
00:00:10,559 --> 00:00:12,160
wrote a brand new draft that has a lot

4
00:00:12,160 --> 00:00:15,040
of changes to it. Um, I would say the

5
00:00:15,040 --> 00:00:17,119
biggest change is that the character has

6
00:00:17,119 --> 00:00:19,279
a kind of badass quality to her. She's

7
00:00:19,279 --> 00:00:20,560
somebody who's definitely lived and

8
00:00:20,560 --> 00:00:23,359
she's more hardened and tougher and um

9
00:00:23,359 --> 00:00:25,199
we're going to be be able to see kind of

10
00:00:25,199 --> 00:00:27,199
the different layers of covering that

11
00:00:27,199 --> 00:00:30,640
she has. Um she he also wrote a scene, a

12
00:00:30,640 --> 00:00:32,800
lovely little scene with the little boy

13
00:00:32,800 --> 00:00:33,840
uh where they get to have a little

14
00:00:33,840 --> 00:00:36,559
moment together and um kind of a

15
00:00:36,559 --> 00:00:37,840
different ending where there's a new

16
00:00:37,840 --> 00:00:40,160
character that that uh that is a spectre

17
00:00:40,160 --> 00:00:43,280
of of uh that shows us that she has a

18
00:00:43,280 --> 00:00:44,960
history of some issues with her parents,

19
00:00:44,960 --> 00:00:48,000
etc. Um so if you haven't seen it yet,

20
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you'll be seeing it after this

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discussion that I have with Scott, who I

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have on the phone right now. Um I'm

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going to walk him through some of the

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changes. Uh, some of these changes will

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also reflect um a view towards shooting

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and trying to be economical because you

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can't have everything that you were

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hoping for. Um, all right. Hi, Scott.

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Hello. What do you mean you can't have

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everything that you were hoping?

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Well,

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not today.

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Not today.

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Not today. Um,

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all right. I'm ready. One of the things

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I was thinking about, I noticed the

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other day I had to go uh to the uh e or

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hospital and I noticed that they do a

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lot of paperwork they do on computers

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and uh most of it maybe would already be

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filled in. So I was thinking that

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instead of uh the first the woman's

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voice comes in over black, maybe the

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first thing she says is um you didn't

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fill in your address.

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Um

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uh I thought it might be a good idea to

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have Amy answer something a little more

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vague like huh instead of no just so

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it's uh it's almost as if she's just

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waking up because we go from black

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unceremoniously to a big wide close-up

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so that there is just this uh almost

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sorry confused you know just like huh

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like what are you saying?

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Uh then the woman might repeat it again

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your address. Uh that would get us into

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um Amy confirming that she's between

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residences right now.

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Um

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so I thought maybe a way around the

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curse of the emergency room uh research

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problem was

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uh when Amy says uh it was a [ __ ]

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emergency. Maybe the next thing she says

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is he keeps getting sick. And this would

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be consistent with uh toxlectomies is

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usually one of the reasons why you have

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to bring them in for surgery is that

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they just keep getting sick over and

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over again. They can't get rid of the

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infection.

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Well, here's my question for you because

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the parents show up at the end. It's

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sort of I thought she just grabbed this

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kid for, you know, a few days

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and that she's not had him for a long

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time that he got sick. She didn't know

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what to do with him. So she brought him

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to the hospital and the kid may have

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told her I've had tonsillitis 16 times

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already or whatever.

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And then I mean what I was thinking is

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that she may have information about him

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but she may not have been able to see

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him that much. So she may you know know

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that um you know he has a new teacher in

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school but she hasn't seen him or she

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may have pieces of information without

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having actually spent a lot of time with

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him.

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Um, but this is her opportunity to have

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a special day. Um,

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maybe she's been watching.

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Oh, interesting. Yeah, that's a thought.

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Cool. Let's bring that in. Um, on page

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two where you have, "Has he been given

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anesthesia before, have the nurse ask a

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second time in a different way

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to say, you haven't given him

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medications of any kind?" Um, and then

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have Amy have a hint of being slightly

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insulted. Uh, the reason I was thinking

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about that was just that we almost would

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get a feeling that the nurse didn't

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trust her to do it right

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and she's going to ask her twice to make

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sure that she hasn't given her

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medications. It also brings up the drug

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question. So, for me as a mom, if I was

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already sensitive to the idea that

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people think I'm a drug addict or that

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I'm irresponsible, if somebody said to

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me twice, "You sure you haven't given

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him any medications?" I might be

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slightly more insulted. That no might be

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slightly more insulted

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for technical reasons because um

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somebody's going to make a noise in the

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waiting room and the boy's going to wake

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up for a second. It might be a good

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opportunity to throw a little line for

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the nurse in there where she says, you

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know, initial here, initial here,

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initial here, so that while Amy is doing

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the job of initialing,

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uh, she can tell tell her her next

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worry. You know, are they going to tie

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him down? I have a cut for you on the

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top of page three. Tell me if you think

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this is a good idea. I would just cut

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those first two lines.

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Good for you, but it could happen. Yes,

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anything could happen, but it's not very

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likely. And it's a very short procedure,

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maybe 15 minutes. Um, we're going to

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find out that the procedure is short

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later on. Um, and

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it might just be one beat too many.

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Okay,

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I had a cut here, too. The next line is,

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um, yes, I was incarcerated. That's that

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what you want to ask. I just sort of

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feel as an actor that it's better for

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that moment to play

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silently. Um, if we are placing this

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movie in the mi, this scene in the

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middle of a movie, we'll know where she

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was beforehand. So, um, I think it might

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just be gilding the lily a little. When

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you have enlarged tonsils, it does make

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you snore. So, instead of So, what I

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would change here

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Oh, I got it reversed.

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Yeah. So, I would change at the top of

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the page, I would change um, you know

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what you know what else happens? you get

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your tonsils out, you stop snoring. And

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then, uh, maybe she makes like a snoring

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sound into his neck a little bit. Um,

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uh, then I thought it would be cool if

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Lucas says, "Uh, grandma snores, too."

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Amy's next line might be, "Yep, she

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does." What I got out of that line is

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that what I got out of those two lines

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is the little boy is a little thinking

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about the grandma who he's really has

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been living with. And um you know how

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kids are always obsessed with whoever it

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is that that is their primary caregiver.

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And um that's Amy's mom. So she knows

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that she snores.

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She's slightly hurt that Lucas is

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thinking about someone else when he's

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with her.

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Not that you have to write that in

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there. That's to play that part.

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On page six, I would lose the [ __ ]

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It's too [ __ ] tight. I lose the

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[ __ ] just there cuz we're going to

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get [ __ ] later. Um, halfway through

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when Amy says,

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"I'm not your [ __ ] mom," which I

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love. Uh, I would just add Under her

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breath.

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Uh, the reason for that just is to let

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it build. I mean, kind of let it kind of

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let her simmering build throughout the

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scene. So, if she gets too aggressive in

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the beginning of the scene, I feel like

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I got no place to go as an actor.

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Uh, you know, this part where it says,

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"And now half the kids in the room are

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sitting up and screaming."

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I thought I thought maybe um

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there might be something fun if she's if

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when we cut back and and he's he's in

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the recovery room and he's and she's

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lying next to him or she's sitting there

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next to him listening to him breathing

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that she gets just like a weird sound

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that she hears a weird sound. Uh maybe

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is that is it a scream? Is it a moan? Is

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it something happening over to her right

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and she doesn't quite know what it is?

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Then maybe she hears another sound or

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she'll see a nurses running, not running

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but hurrying over there. Um, and then

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her kid kind of pops into frame. So,

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it's like she doesn't quite know what's

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happening and then suddenly her kid

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starts doing it, too. So, we get this

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anticipatory tension of um

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Mhm. I like that

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it's about to happen.

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Um, oh, by the way, I really love the um

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how you just smashed into that uh

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flashback. It may or may not work.

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Flashbacks are things that we hate hate

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and love, and you may end up cutting

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them out, but um as long as you're

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dreaming, it works really well when it's

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something that's just a smash cut. um

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that allows you into a moment that

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you're not quite ready for that feels

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super violent and confusing the way the

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character would be feel violated and

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violent and confused and ragefilled. Um

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just that smash of blood and smattering

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and people you know running crashing

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that should be probably from her point

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of view because it is her memory. So

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even if it isn't technically from her

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actual point of view of what she's

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looking at, you can use the confusion of

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the moment. Uh maybe you go from uh you

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know the wound on her stomach with a

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shaky camera, handheld camera, wound on

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her stomach to her face or you know this

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the a hand coming through the frame just

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something that makes it jagged and

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confused and and that's what you've

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written. So

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yay. Thank you.

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Oh, so older woman walks in. She says,

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"We're here now." I think it might be

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good if she says also says, "You can

248
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go." They usually like to have only one

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parent at a time in the recovery room

250
00:09:27,839 --> 00:09:29,040
because it's too confusing for the

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00:09:29,040 --> 00:09:30,240
doctors and the kids and the other

252
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people.

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Um,

254
00:09:31,760 --> 00:09:33,120
right. We had talked about that. I just

255
00:09:33,120 --> 00:09:33,760
forgot about it.

256
00:09:33,760 --> 00:09:35,200
No, no, that's cool. Then

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00:09:35,200 --> 00:09:38,640
despite all my stellar note takingaking,

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the second line to the bottom, Amy said,

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00:09:40,720 --> 00:09:42,480
"I'm his mother." I would add, "For

260
00:09:42,480 --> 00:09:44,160
[ __ ] sake," at the end of that just to

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00:09:44,160 --> 00:09:46,800
give her a little attitude.

262
00:09:46,800 --> 00:09:49,360
Um, the reason I like the attitude is

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00:09:49,360 --> 00:09:51,120
that then the older mo the older woman

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00:09:51,120 --> 00:09:53,600
shuts her down and uh puts her in her

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place immediately and uh that'll silence

266
00:09:56,800 --> 00:09:58,640
her and it'll make her feel vulnerable

267
00:09:58,640 --> 00:10:03,720
after she's had that badass quality.

268
00:10:04,399 --> 00:10:07,040
We're almost at the end.

269
00:10:07,040 --> 00:10:11,360
Um oh, on page nine, uh if we add in an

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00:10:11,360 --> 00:10:12,720
again on the first line, it would read,

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00:10:12,720 --> 00:10:15,760
"You didn't even know he was sick again.

272
00:10:15,760 --> 00:10:18,079
Uh, we could even, you know, she can

273
00:10:18,079 --> 00:10:19,920
even say, "He told me he gets sick all

274
00:10:19,920 --> 00:10:21,519
the time. He told me he's been sick for

275
00:10:21,519 --> 00:10:23,839
weeks." Uh, something that's almost

276
00:10:23,839 --> 00:10:26,000
accusatory. So, it's like,

277
00:10:26,000 --> 00:10:27,519
well, I have another I have another

278
00:10:27,519 --> 00:10:27,920
thought.

279
00:10:27,920 --> 00:10:29,600
What's that?

280
00:10:29,600 --> 00:10:34,399
Which is maybe we're making it too

281
00:10:34,399 --> 00:10:36,880
hard here. In other words, you could

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00:10:36,880 --> 00:10:38,800
have a mother who was in prison, who got

283
00:10:38,800 --> 00:10:42,079
out of prison, who gets to see her kid,

284
00:10:42,079 --> 00:10:44,880
but only gets to see her kid on the the

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00:10:44,880 --> 00:10:46,480
grandparents are now guardian, legal

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00:10:46,480 --> 00:10:47,040
guardians,

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00:10:47,040 --> 00:10:47,839
right?

288
00:10:47,839 --> 00:10:50,480
And so she gets to see the kid once in a

289
00:10:50,480 --> 00:10:55,120
while. So she takes the kid away and she

290
00:10:55,120 --> 00:10:57,040
brought him in to this surgery. They

291
00:10:57,040 --> 00:10:59,040
didn't know that she was here for the

292
00:10:59,040 --> 00:11:01,839
surgery. So it's not an emergency. She

293
00:11:01,839 --> 00:11:03,440
brought him in. She could have organized

294
00:11:03,440 --> 00:11:06,480
it without without asking them properly.

295
00:11:06,480 --> 00:11:08,560
Yeah. Let me um let me play with that.

296
00:11:08,560 --> 00:11:11,279
There's something there.

297
00:11:11,279 --> 00:11:12,880
Good.

298
00:11:12,880 --> 00:11:16,800
Um then um I I like I kind of like the

299
00:11:16,800 --> 00:11:18,800
idea that she's sort of surprised that

300
00:11:18,800 --> 00:11:20,959
dad's here too. It's like she's not

301
00:11:20,959 --> 00:11:23,040
prepared or something. And then I get a

302
00:11:23,040 --> 00:11:24,560
little feeling of like what's the deal

303
00:11:24,560 --> 00:11:26,399
with the dad? Like why is he special?

304
00:11:26,399 --> 00:11:27,920
And why is there

305
00:11:27,920 --> 00:11:29,360
I don't have the answers right now, but

306
00:11:29,360 --> 00:11:30,560
there's something nice.

307
00:11:30,560 --> 00:11:32,880
She's afraid that he's there and that

308
00:11:32,880 --> 00:11:34,320
she has to see him.

309
00:11:34,320 --> 00:11:34,720
Yeah.

310
00:11:34,720 --> 00:11:37,040
It's more that she finds out he's there

311
00:11:37,040 --> 00:11:38,640
and Oh,

312
00:11:38,640 --> 00:11:42,079
yeah. Exactly. So, so uh instead of us

313
00:11:42,079 --> 00:11:43,680
is dad here, maybe it would be what?

314
00:11:43,680 --> 00:11:46,399
Dad's here, too.

315
00:11:46,399 --> 00:11:50,480
Um I have a little bit of a extra zinger

316
00:11:50,480 --> 00:11:53,600
on the last line of the older woman. Uh

317
00:11:53,600 --> 00:11:54,959
or the second to the last line for the

318
00:11:54,959 --> 00:11:56,399
older woman. She says, "Please, Amy,

319
00:11:56,399 --> 00:11:59,200
just go. All you ever do is all you ever

320
00:11:59,200 --> 00:12:01,360
do is make things worse." or something

321
00:12:01,360 --> 00:12:03,440
like that. Something that is is more

322
00:12:03,440 --> 00:12:06,160
definitive and is more cutting and is

323
00:12:06,160 --> 00:12:09,279
actually really true. Um that she'll

324
00:12:09,279 --> 00:12:11,600
have to that Amy will have to own up to

325
00:12:11,600 --> 00:12:16,320
as a kind of disappointment in herself

326
00:12:16,320 --> 00:12:20,519
or at least in her past self.

327
00:12:21,680 --> 00:12:24,399
Yeah, I have no other notes.

328
00:12:24,399 --> 00:12:26,160
I think that there's a lot of questions

329
00:12:26,160 --> 00:12:28,959
that this begs because we're trying to

330
00:12:28,959 --> 00:12:31,839
get a dramatic energy from a from being

331
00:12:31,839 --> 00:12:33,680
flatfooted at the beginning. Yes.

332
00:12:33,680 --> 00:12:36,880
So, it's an emergency room. So, it's so

333
00:12:36,880 --> 00:12:39,120
what do you sacrifice in terms of logic

334
00:12:39,120 --> 00:12:42,000
or reality in terms of giving it a kind

335
00:12:42,000 --> 00:12:43,920
of energy? But does if you give it that

336
00:12:43,920 --> 00:12:46,079
energy and you sacrifice the logic and

337
00:12:46,079 --> 00:12:48,399
the reality, is the audience doing math?

338
00:12:48,399 --> 00:12:50,399
Are they wondering instead of being in

339
00:12:50,399 --> 00:12:52,079
it, are they sitting there asking

340
00:12:52,079 --> 00:12:53,839
questions? So you're trying to find that

341
00:12:53,839 --> 00:12:55,920
balance so that people are kind of

342
00:12:55,920 --> 00:12:58,639
carried along and maybe

343
00:12:58,639 --> 00:13:01,279
you know this isn't exactly right but it

344
00:13:01,279 --> 00:13:02,399
feels right.

345
00:13:02,399 --> 00:13:03,839
It all feels right as long as it doesn't

346
00:13:03,839 --> 00:13:07,200
feel wrong and people don't bump. So the

347
00:13:07,200 --> 00:13:10,160
trick in this last pass now that I kind

348
00:13:10,160 --> 00:13:12,959
of have a handle on who she is because

349
00:13:12,959 --> 00:13:15,120
it all comes from character

350
00:13:15,120 --> 00:13:18,240
is to go through it and make sure it

351
00:13:18,240 --> 00:13:22,240
follows all of those ideas and then she

352
00:13:22,240 --> 00:13:24,560
at the end she's rejected and we need to

353
00:13:24,560 --> 00:13:28,240
feel um her sense of rejection

354
00:13:28,240 --> 00:13:28,720
right

355
00:13:28,720 --> 00:13:31,360
and her sense of okay I'm going to go

356
00:13:31,360 --> 00:13:33,440
I'm trying to do this good thing where

357
00:13:33,440 --> 00:13:35,440
there's this bad thing which we haven't

358
00:13:35,440 --> 00:13:37,680
really talked about in my ear the whole

359
00:13:37,680 --> 00:13:39,120
time.

360
00:13:39,120 --> 00:13:41,200
You know, I get rejected by the good

361
00:13:41,200 --> 00:13:43,120
things. So, [ __ ] it. I'm going to go do

362
00:13:43,120 --> 00:13:45,760
that. Which is a simplistic but human

363
00:13:45,760 --> 00:13:46,480
thing.

364
00:13:46,480 --> 00:13:48,240
And what helped me last time is when you

365
00:13:48,240 --> 00:13:49,440
said I didn't realize you were going to

366
00:13:49,440 --> 00:13:51,839
play this part where I deliberately

367
00:13:51,839 --> 00:13:53,600
ignored that.

368
00:13:53,600 --> 00:13:56,480
So, um I went, "Oh, okay. I know how to

369
00:13:56,480 --> 00:13:58,720
I know how to write her." And so, that

370
00:13:58,720 --> 00:14:01,440
helped me. And so I think now that I

371
00:14:01,440 --> 00:14:03,920
have a handle on on hearing her, I think

372
00:14:03,920 --> 00:14:06,399
the next step would be to organize it

373
00:14:06,399 --> 00:14:08,560
just so that it has its own little flow.

374
00:14:08,560 --> 00:14:11,440
It's super clean. It's it's it's super

375
00:14:11,440 --> 00:14:13,760
clean and I don't know that you need to

376
00:14:13,760 --> 00:14:16,240
say too much and there's a lot of lines

377
00:14:16,240 --> 00:14:18,000
that you might be able to do that you

378
00:14:18,000 --> 00:14:19,440
could do with looks,

379
00:14:19,440 --> 00:14:21,440
right? Yeah. The work uh that we've done

380
00:14:21,440 --> 00:14:22,720
is really, you know, looking at the

381
00:14:22,720 --> 00:14:24,720
script kind of line by line and and

382
00:14:24,720 --> 00:14:26,480
looking at it through the lens of a

383
00:14:26,480 --> 00:14:29,040
character's point of view and um uh

384
00:14:29,040 --> 00:14:30,560
figuring out where she starts in the

385
00:14:30,560 --> 00:14:32,160
beginning of these scenes that we've uh

386
00:14:32,160 --> 00:14:34,079
you've come up with to where she ends in

387
00:14:34,079 --> 00:14:35,440
the end. You know, what are the changes?

388
00:14:35,440 --> 00:14:36,880
What are the what are the things and

389
00:14:36,880 --> 00:14:39,360
what are the layers of covering of how

390
00:14:39,360 --> 00:14:41,360
she presents on the outside, how she's

391
00:14:41,360 --> 00:14:43,120
actually feeling on the inside, and what

392
00:14:43,120 --> 00:14:44,560
might not even be known to her

393
00:14:44,560 --> 00:14:47,440
unconsciously. So, you know, the the

394
00:14:47,440 --> 00:14:48,639
good news about this experience that

395
00:14:48,639 --> 00:14:51,199
we've had is that

396
00:14:51,199 --> 00:14:53,680
I like I like the script you wrote. So,

397
00:14:53,680 --> 00:14:56,160
um we're uh we're unfortunately not

398
00:14:56,160 --> 00:14:58,000
showing the students that part of the

399
00:14:58,000 --> 00:14:59,760
process where you look at the pages and

400
00:14:59,760 --> 00:15:02,560
you're like, "This sucks. Rip it in half

401
00:15:02,560 --> 00:15:04,079
and start all over again." You know,

402
00:15:04,079 --> 00:15:04,639
that

403
00:15:04,639 --> 00:15:06,720
that's called my process in general.

404
00:15:06,720 --> 00:15:07,440
That's

405
00:15:07,440 --> 00:15:09,279
You got to do that on your own sitting

406
00:15:09,279 --> 00:15:10,000
at your desk

407
00:15:10,000 --> 00:15:12,160
all the time. Yeah. I mean, I think

408
00:15:12,160 --> 00:15:14,000
there's there's so many things that you

409
00:15:14,000 --> 00:15:16,720
can go over. There are different passes.

410
00:15:16,720 --> 00:15:18,079
There's the pass where you go over the

411
00:15:18,079 --> 00:15:19,760
script to keep track of the character

412
00:15:19,760 --> 00:15:21,519
and what their motivation is and make

413
00:15:21,519 --> 00:15:23,600
sure. Motivation is a weird thing. I

414
00:15:23,600 --> 00:15:25,360
like to just say, are they behaving the

415
00:15:25,360 --> 00:15:27,360
way they would in that situation, not

416
00:15:27,360 --> 00:15:29,199
because the script says so? You know,

417
00:15:29,199 --> 00:15:30,560
are they being true to who we've

418
00:15:30,560 --> 00:15:32,399
defined? There's nothing worse than

419
00:15:32,399 --> 00:15:33,920
watching two characters arguing with

420
00:15:33,920 --> 00:15:36,399
each other for no reason, you know, or a

421
00:15:36,399 --> 00:15:37,920
character going along with something.

422
00:15:37,920 --> 00:15:39,760
Why would he or she ever go along with

423
00:15:39,760 --> 00:15:41,279
that? Well, because the screenwriter

424
00:15:41,279 --> 00:15:43,440
needs them to, you know, go into the

425
00:15:43,440 --> 00:15:44,399
basement. Yeah.

426
00:15:44,399 --> 00:15:48,079
Whatever it is. So, so, um, so there's

427
00:15:48,079 --> 00:15:49,920
that, but then there's also where you go

428
00:15:49,920 --> 00:15:51,040
through the script and you talk about

429
00:15:51,040 --> 00:15:53,519
transitions and you talk about pace and

430
00:15:53,519 --> 00:15:55,920
you talk about visual ideas and

431
00:15:55,920 --> 00:15:58,000
directors. There's so many things you

432
00:15:58,000 --> 00:15:59,759
can talk about. And the more a director

433
00:15:59,759 --> 00:16:02,160
knows, I find, the more helpful it is.

434
00:16:02,160 --> 00:16:04,399
And I find the more that they have in

435
00:16:04,399 --> 00:16:06,480
their head, the more they can download

436
00:16:06,480 --> 00:16:09,360
to me, the the more helpful it is. And

437
00:16:09,360 --> 00:16:12,000
it and I find that that stuff even as as

438
00:16:12,000 --> 00:16:15,040
practical or visual as it might be works

439
00:16:15,040 --> 00:16:17,759
its way into the story because the you

440
00:16:17,759 --> 00:16:19,759
know the movie storyteller in me wants

441
00:16:19,759 --> 00:16:21,440
to accommodate these ideas.

442
00:16:21,440 --> 00:16:22,560
Well I think the script is really

443
00:16:22,560 --> 00:16:25,759
working. So um I mean just on my end I

444
00:16:25,759 --> 00:16:26,880
think the reason that it's working is

445
00:16:26,880 --> 00:16:30,720
that it has a very clear character whose

446
00:16:30,720 --> 00:16:33,759
point of view it is. Um we really get a

447
00:16:33,759 --> 00:16:35,360
sense that this is Amy's story and that

448
00:16:35,360 --> 00:16:37,199
we're following her dramatically and

449
00:16:37,199 --> 00:16:40,800
emotionally. Um, I have the kind of

450
00:16:40,800 --> 00:16:42,320
emotional resonance that I was hoping

451
00:16:42,320 --> 00:16:44,399
for. Uh, I I I understand what this

452
00:16:44,399 --> 00:16:47,360
moment is of wanting to be a good mom

453
00:16:47,360 --> 00:16:49,199
and but everything that you've done in

454
00:16:49,199 --> 00:16:52,000
your life in some ways is,

455
00:16:52,000 --> 00:16:53,199
you know, makes people believe that

456
00:16:53,199 --> 00:16:55,360
you're not and you're fighting for

457
00:16:55,360 --> 00:16:57,519
you're you're fighting to to, you know,

458
00:16:57,519 --> 00:16:58,639
to be that person that you were hoping

459
00:16:58,639 --> 00:17:01,759
that you were going to be. Um, I feel

460
00:17:01,759 --> 00:17:04,720
like it, you know, just in the small uh

461
00:17:04,720 --> 00:17:06,240
little bits that that you've written

462
00:17:06,240 --> 00:17:08,000
that we I get a real clear picture of

463
00:17:08,000 --> 00:17:10,720
what this family dynamic is. For me, I

464
00:17:10,720 --> 00:17:14,480
understand the uh tone uh what it lives

465
00:17:14,480 --> 00:17:16,720
in. For me, it feels raw and real. I

466
00:17:16,720 --> 00:17:18,720
think if anything um you want to not be

467
00:17:18,720 --> 00:17:22,079
distracted by too many um too much

468
00:17:22,079 --> 00:17:24,799
artifice or too much uh self-conscious

469
00:17:24,799 --> 00:17:27,679
film making uh references or decisions

470
00:17:27,679 --> 00:17:29,520
and you want you kind of want to let the

471
00:17:29,520 --> 00:17:32,000
reality of it play out. Um so that the

472
00:17:32,000 --> 00:17:34,480
film making that is there um the

473
00:17:34,480 --> 00:17:35,679
decisions that you do make as a

474
00:17:35,679 --> 00:17:37,919
filmmaker are really helpful to focus

475
00:17:37,919 --> 00:17:39,200
the audience where you want them to

476
00:17:39,200 --> 00:17:40,960
focus to help them feel to guide them in

477
00:17:40,960 --> 00:17:42,320
the direction that you're hoping for but

478
00:17:42,320 --> 00:17:45,440
not in a way that feels manipulative or

479
00:17:45,440 --> 00:17:47,280
um artificial.

480
00:17:47,280 --> 00:17:50,000
I mean I I think I can do better. I

481
00:17:50,000 --> 00:17:52,640
think that the yarn the yarn isn't quite

482
00:17:52,640 --> 00:17:54,640
there because I care about for me what

483
00:17:54,640 --> 00:17:56,880
is the yarn I'm telling you what is the

484
00:17:56,880 --> 00:17:58,799
story? What are we spinning? And I feel

485
00:17:58,799 --> 00:18:01,440
like it's a little non-specific in a

486
00:18:01,440 --> 00:18:03,679
couple of places, you know, and where

487
00:18:03,679 --> 00:18:05,679
where it starts and where it ends. I

488
00:18:05,679 --> 00:18:08,400
want it not to feel it's it's a little

489
00:18:08,400 --> 00:18:10,320
too much airing on the slice of life

490
00:18:10,320 --> 00:18:12,880
side and not enough on the larger than

491
00:18:12,880 --> 00:18:14,000
life size.

492
00:18:14,000 --> 00:18:15,679
So, um,

493
00:18:15,679 --> 00:18:18,160
that's where the next and that's my

494
00:18:18,160 --> 00:18:20,480
process, by the way. They're all long

495
00:18:20,480 --> 00:18:23,200
and flat and the dialogue is

496
00:18:23,200 --> 00:18:25,280
serviceable. And then once I understand

497
00:18:25,280 --> 00:18:28,799
what it is, I go back in and I I shape

498
00:18:28,799 --> 00:18:30,960
it and shape it and, you know, fine-tune

499
00:18:30,960 --> 00:18:34,240
it and over and

1
00:00:06,480 --> 00:00:08,960
So, what what what do you think makes

2
00:00:08,960 --> 00:00:11,200
the best screenwriter director

3
00:00:11,200 --> 00:00:12,639
collaboration? Obviously, every director

4
00:00:12,639 --> 00:00:14,160
is different and you've worked with so

5
00:00:14,160 --> 00:00:15,920
many amazing directors and you have to,

6
00:00:15,920 --> 00:00:17,600
I'm sure, turn yourself into a pretzel

7
00:00:17,600 --> 00:00:18,480
for some of them.

8
00:00:18,480 --> 00:00:20,080
Well, I think these are shotgun

9
00:00:20,080 --> 00:00:22,160
marriages, as I often say. you know,

10
00:00:22,160 --> 00:00:24,000
you're thrown into this intense

11
00:00:24,000 --> 00:00:26,000
situation and you've just spent all this

12
00:00:26,000 --> 00:00:28,400
time with something and now somebody

13
00:00:28,400 --> 00:00:31,039
usually, most often the director comes

14
00:00:31,039 --> 00:00:34,559
in later in in the process and now they

15
00:00:34,559 --> 00:00:37,680
have their own ideas and it can be

16
00:00:37,680 --> 00:00:40,800
rejuvenating. It can be inspiring to

17
00:00:40,800 --> 00:00:43,760
have somebody see into your world and

18
00:00:43,760 --> 00:00:45,520
have these ideas that make it better.

19
00:00:45,520 --> 00:00:47,920
Um, ideally it's one and one is three

20
00:00:47,920 --> 00:00:50,879
once the the director comes on. So that

21
00:00:50,879 --> 00:00:53,120
you hope, like with all relationships,

22
00:00:53,120 --> 00:00:55,520
that you both want the same thing. And

23
00:00:55,520 --> 00:00:57,920
you may disagree about specifics, tiny

24
00:00:57,920 --> 00:00:59,760
specifics. If we're talking about under

25
00:00:59,760 --> 00:01:01,920
her breath and things like that, that's

26
00:01:01,920 --> 00:01:03,920
fine. But if you're talking about huge

27
00:01:03,920 --> 00:01:06,320
character issues and the direction of

28
00:01:06,320 --> 00:01:09,760
the story and the tone in particular

29
00:01:09,760 --> 00:01:11,520
because a lot of directors don't

30
00:01:11,520 --> 00:01:13,119
understand that the tone you might have

31
00:01:13,119 --> 00:01:14,560
or you might just have a simple

32
00:01:14,560 --> 00:01:17,280
disagreement but if you're all if you're

33
00:01:17,280 --> 00:01:23,360
in sync I find that I try to to you know

34
00:01:23,360 --> 00:01:25,520
in every department let the racehorse

35
00:01:25,520 --> 00:01:28,479
run and see what people want to do and

36
00:01:28,479 --> 00:01:31,119
try and understand what they're trying

37
00:01:31,119 --> 00:01:35,280
to say and then you know process it and

38
00:01:35,280 --> 00:01:37,119
because you can be defensive and but

39
00:01:37,119 --> 00:01:38,799
then you're killing the conversation.

40
00:01:38,799 --> 00:01:41,439
You're not enabling collaboration. And I

41
00:01:41,439 --> 00:01:43,040
may be listening to something I know I

42
00:01:43,040 --> 00:01:45,360
disagree with or have an issue with, but

43
00:01:45,360 --> 00:01:48,000
I want to see where they're going.

44
00:01:48,000 --> 00:01:50,320
Sometimes I'll be so instantly annoyed

45
00:01:50,320 --> 00:01:52,079
though and I will I will make the

46
00:01:52,079 --> 00:01:54,880
mistake of jumping on something. And

47
00:01:54,880 --> 00:01:56,560
when you know when you get jumped on,

48
00:01:56,560 --> 00:01:58,719
you shut down. So now you're both I'm

49
00:01:58,719 --> 00:02:00,799
annoyed, they're defensive, there's no

50
00:02:00,799 --> 00:02:02,719
conversation. So it's better to just

51
00:02:02,719 --> 00:02:06,159
take it in and and listen and and try

52
00:02:06,159 --> 00:02:08,319
and understand where they want to go.

53
00:02:08,319 --> 00:02:10,239
Yes, full agreement. I've worked with a

54
00:02:10,239 --> 00:02:13,520
lot of writer directors and um you know

55
00:02:13,520 --> 00:02:15,840
sometimes it's the best possible

56
00:02:15,840 --> 00:02:17,760
scenario, right? It's a real our the way

57
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you work and sometimes I find as an

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actor I find that um you know especially

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inexperienced writer directors is that

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they tend to feel like the movie is that

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idea that they had in their hotel room

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when they were all by themselves and

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especially writers who are really used

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to sitting in a room and typing all by

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themselves and laughing hysterically at

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what they've written. Um they you know

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movies don't work that way. They're 125

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people. Um, also some writers really get

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bogged down in uh dialogue and structure

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because those are the two big

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components. And um they it's hard for

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them to be free enough to to to to see

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that movies aren't really about what

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people say. Uh they're about behavior

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and um about complexity and about um how

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people do things that are against their

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nature. Sometimes um it's hard for them.

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Sometimes they get very syllogistic and

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it's hard for them to see that human

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behavior doesn't always work so

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syllogistically. You know, sometimes

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people just do something because they're

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impulsive and you know it's out of their

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pattern

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to do all those things and to convey all

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those things. And what's so difficult

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about screenwriting is you only get two

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senses. You get sight and sound and

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that's it. And so it's very very

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difficult to convey all of that stuff

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with just sight and sound. And I think

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what gets lost in the conversation

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because I understand a writer's

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frustration if they don't feel um

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understood because what they're focusing

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on is the specifics of the thing. You

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know, I wanted a blue shirt. This is

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what I think she should have. Well,

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instead of you you there's a different

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kind of deeper intention that they're

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talking about and the conversation. What

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is it? What? And if and there are times

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where changing the dialogue changes

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really changes the intention. And there

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are times for me whether I'm just

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writing or writing and directing where

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um someone will change it and it will be

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better. There are times where they'll

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change it and it will be worse and

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that's not okay. And there are times

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where they'll change it and it's just

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different. And that's also not okay cuz

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why change it just to change it. But I'm

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doesn't mean that I'm not open to change

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because an actor may may figure out a

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way to do it in a way I didn't think

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about and their first instinct might

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actually be really interesting or it

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might be to to do it without the

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dialogue which is almost always

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something worth pursuing. Um so it's

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this this what gets lost in the fight to

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control is the idea of what is the

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intention and what is the story and

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let's keep telling each other the story

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instead of fighting over minutia. We'll

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keep telling each other the story and

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see if we both still see the same story

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and talk about the characters and and

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motivation and you both

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what's what's behind everything and I

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think those conversations even if you're

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at odds sometimes are fruitful.

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Yep. Yeah. Even as an actor working with

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a script I mean sometimes something has

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resonance for me personally and some

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some things don't. So, for example, when

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I'm given a story uh uh in in The

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Beaver, I was given a story. Um the

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writer had kind of gave me a story about

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I was trying to convince my husband of

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something and I was telling him about

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that story. Remember when we were

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remember when we were on the Colorado

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River and our son fell in and and you

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fished him out and he was stopping wed

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and then the ambulance came? there was

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this whole long story, but the story was

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so

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required me to think so much and it

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required the other characters to think

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so much that it wasn't emotional to me

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and I wanted it to not be about the

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writing. So the story that I said to the

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writer, I said, you know, I need this

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story where I say, remember when our son

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was born and he was so small

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and you picked him up and he was so

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small that there was something so um uh

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not literary, not intellectual about

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that kind of resonance that that had for

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me. And it allowed the audience to enter

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into the movie in a way where they

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didn't have to be thinking, they could

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just be feeling what the character was

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playing. And that that sometimes those

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are my problems with writer directors is

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that it's hard for me to explain to them

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why words get in the way

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anyway

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they can but that give and take is a

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healthy give and take and I don't think

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people need to be afraid of it. I don't

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think they need to be threatened by

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especially if it comes from a place of

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people are trying to interpret what

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you're doing and because there are so

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many people you need and we don't all

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get infinite budgets and can't do

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hundreds of takes and spend as much time

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as we want. So we can get it exactly the

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way we see. It's very hard. You want to

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just there's that sweet spot where you

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feel what you know you need to feel. And

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for me that's that's that feels good

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enough. not like even a compromise that

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feels like it's actually working.

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I think we both have the same

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understanding of what's at the heart of

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this this um Get Not a Shorty

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movie that we've created.

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Yeah. I mean, I I don't feel I think

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there are specifics that we may disagree

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on, but how important is it to the

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overall what matters? and I'll speak up

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if I think something will actually work

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against what I think you want to do. But

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this is this is a job I'm doing to serve

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a vision you have. Was your idea was

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your so I'm actually you know the gigger

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here coming in and trying to to execute

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something you have very specifically in

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your head which is a slightly different

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thing than something I've created and

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we've come together on. Well, but it's

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also grown from my original memory that

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I brought to the table. I mean, that's

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the beautiful part of the process is

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that it moves and shapes and evolves and

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you bring the next person into the

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puzzle and you know, we're going to

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bring the location scout, they're going

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to bring the production designer,

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they're going to bring the DP. Everybody

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brings their their their life story to

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the table and suddenly you have this

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organic character that started with an

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idea that you had, this big idea that

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you had that has now changed and shaped

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and evolved. And um I think that's the

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most beautiful thing about making movies

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is not I don't want to make one movie in

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a in my hotel room all by myself. I

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really love the sharing process of

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watching this child that we've created

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together grow and change in ways that

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I'd never anticipated. It's really a

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joyful thing.

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Yeah. And I think the the the line is

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there's a tricky line that you're

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walking when you're working with a

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director or even with producers or

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studio. You're always trying to improve

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it. And this happens on the set, too,

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where you're trying to improve a scene,

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but you can improve it into a failure.

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You know, you see it in the cutting

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room, too, where you're cutting and

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fixing it and fixing it and fixing it,

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and you've just fixed it into a mess.

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And so, you're it's tricky walking that

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line. And and so you have to have a give

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and take. And if your ego is another

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factor in all that and and mine

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frequently is I don't want to dismiss

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sometimes, you know, I I feel a kind of

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ownership and I don't want to compromise

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just to be a good boy. I've done that

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too. So you're walking a line between

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this is what I really believe and also

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trying to be available to these other

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ideas that might actually be great. It's

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a it's all very very hard and you can

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only it just takes it's a constant

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practice. It's like meditation.

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You're just always practicing. You never

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master it.

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It's a it's a meditation. I think that's

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a theme that's come up a lot which is

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this sort of meditation about balance.

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On the one hand it's structure. On the

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other hand it's freedom. On the one hand

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it's you know being sure about what you

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have and you know fighting for it. And

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on the other it's like be flexible and

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give and take. I mean, it is this just

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balance it back and forth. And I guess

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that you just got to put your tennis

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shoes on and just keep doing it enough

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to to appreciate what that how that

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feels to balance those two things

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and accept that being out of balance

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isn't a larger message that everything's

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wrong. It just means that the

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conversation continues.

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Yep.

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Bye, Scott. Thank you again for doing

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this with us. Love you, too. Bye.

1
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Well, we're going to figure out how to

2
00:00:09,120 --> 00:00:11,519
construct a scene. Um, it's uh

3
00:00:11,519 --> 00:00:13,120
impossible to do that without knowing it

4
00:00:13,120 --> 00:00:15,599
in the context of the whole film. Um,

5
00:00:15,599 --> 00:00:18,160
but we're going to really we're going to

6
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make some decisions early on. Uh,

7
00:00:20,560 --> 00:00:23,680
decisions about tone, about style. Um, I

8
00:00:23,680 --> 00:00:25,840
see this really more as an indie film.

9
00:00:25,840 --> 00:00:27,439
Um, we're not going to have a lot of

10
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money. We're going to have to be

11
00:00:28,560 --> 00:00:31,679
economical. Um, and this story is well

12
00:00:31,679 --> 00:00:34,800
served by that genre. Uh, well served by

13
00:00:34,800 --> 00:00:37,280
knowing that you have constraints and

14
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um, it'll allow it to have a kind of

15
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rawness and a sort of a reality, a kind

16
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of gritty reality that really reflects

17
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that particular character. The struggle

18
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of a woman who has just gotten out of

19
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prison who's, you know, trying

20
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desperately to have, you know, to be a

21
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mom, the mom that she was hoping to be,

22
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but she keeps getting dragged into

23
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crime. I work a little differently

24
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because I've spend my life in front of

25
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the camera as opposed to behind it. And

26
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uh when I imagine a scene, when I

27
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imagine the construction of a scene, I

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very often imagine it as if I was the

29
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actor in the scene. So I will imagine

30
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myself as each one of the characters.

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I'll imagine myself uh in this case,

32
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I'll imagine myself as the as the mom,

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as Amy, I'll imagine myself as the

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nurse. And then perhaps later on if we

35
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ever looked at other scenes, I imagine

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myself as the child, as the

37
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anesthesiologist, as the second nurse,

38
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etc. Um, and that's kind of how I might

39
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construct a scene like this. I usually

40
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don't do storyboards except for

41
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elaborate shots, uh, where there might

42
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be stunts or where there might be very

43
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difficult camera moves or where it's

44
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very important for the crew to

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understand the the the sequence of of

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shots and how exactly how they will play

47
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inside the film. Don't get too caught up

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in controlling and manicuring every

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single shot because a it will change.

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You will get there and there is such a

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thing as a location which is different

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than what you had in your mind. There

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were actors there. There are other

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exiencies whether it's lens sizes etc

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that you may not be able to u know

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about. But more importantly, you will

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waste a lot of time on a detail that uh

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you will not be open to the rest of the

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myriad of things that you'll have to be

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connecting with. So the way this

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particular script is written, um it

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comes in with a very hard cut. I mean,

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you're hearing something over black and

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you have a hard cut of a woman's face.

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Um and then even as it's written, even

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as Scott has imagined it, we pull back a

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little bit to reveal uh more of the

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environment that this woman is in. um

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her face is perhaps looking directly

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into camera. That's a device that I like

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to use actually. It's very connective

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and interesting um to have a a character

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looking directly into the camera. It's

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sort of almost upsetting to the audience

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uh to be stared at like that. It works

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very well in a scene like this where

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she's has very few lines. She just

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answers huh or no. Um and then uh we're

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disoriented at the fact that she's

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looking directly at us. Um, so that

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first shot, uh, knowing that we're going

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to be pulling back, we will end up at

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probably a medium shot. So, I'm a

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terrible drawer. Maybe we'll end up on

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that. But maybe we started

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here.

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Or maybe we even started extremely

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close. Maybe we started on their eyes.

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So, we started on the eyes and then we

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came this far. And then we came back

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here and then it widened out into that.

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So I might just make a dumb little arrow

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that tells you that the camera is uh

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coming backwards. If we were to make

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that as a list, and this is probably the

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first shot, as a list, it's very clearly

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would be um closeup

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on Amy,

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pull back

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to medium,

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close, closeup.

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And I would I would tell you where I was

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hoping to end because if you have a

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movement in the shot, you're going to

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want to end that moment um strategically

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end on the line that you're hoping to

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end on. Uh the line I was hoping to end

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on, I think, was um uh emergency

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Oh, I might have to put my glasses on.

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The line I was hoping to end on is

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emergency room, right? So, I would put

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end on emergency room,

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right?

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Um, as we pull back from a close-up,

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whether we decide to go to an extreme

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close-up on her eyes or whether it's a

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little bit wider, as we pull, I think

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probably a little bit wider. As we pull

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back, what we're going to reveal is

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there's a waiting room with a bunch of

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people behind her, and we're going to

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see what's off to her right or left

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shoulder. I've specifically made this a

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center frame. when your when your actor

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is looking directly into the lens, uh

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there's something kind of um specific

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about having a center frame um that that

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that really feels like the the actor and

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the the camera are sort of one. Um now,

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normally there's another person sitting

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there, right? There's somebody sitting

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across from her. There's a nurse that's

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sitting across from her. I've

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purposefully kept this quite close so

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that we don't this is not an over-

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the-sh shoulder. We're not seeing a

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piece of the woman behind her.

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uh in front of her. Um now I'm probably

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going to want to move to another shot

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that will tell me a little bit where I

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am and that will tell me that there is

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somebody in front of her that's

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speaking. Um three lines of dialogue I'm

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feeling is probably as much as I'm going

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to be able to get away with without

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having to cut out before I start seeing

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like, hey, where am I? Am I in a

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hospital? Is there another person

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talking to her? And who is that person?

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So, um, and those three lines that Amy

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has are no, uhhuh. So, they're small

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pieces of dialogue. The second she

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starts talking a lot and having a real

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conversation with somebody, I'm going to

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want to see who that other person is.

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So, I think for all intents and

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purposes, our second shot, I think I'd

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probably make it a wider shot, but from

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the other side. So, now I would see the

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nurse would be more frontal to me. So,

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here I am. I'm Amy. Um, we've just

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pulled back. I do a lot of this as an

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actor and a director when I'm on set.

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And uh, the rest of the crew seems to

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understand very well. The camera is

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pulling back this way. They stop after I

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say emergency. We're probably about this

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tight. The next shot will probably be

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from over there. And we'll be able to

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see the desk. We'll be able to see the

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nurse behind it. We'll be able to see

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maybe a cross that will happen so that

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we know that this is a a hospital where

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there's crossing and there's things

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happening. Um, I see that shot as being

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slightly higher, sort of looking down on

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the experience so that we know that

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there's this is a table that has things

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on it. We're going to find out uh we're

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going to find out in this shot that

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she's holding a child. You know what? We

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may have seen that in that other medium

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shot. We may have seen the little bit of

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his head if his if his head is high

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enough up to her that we may have seen

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that there's a she's holding a child in

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her arms. Uh but if not, we're going to

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see it in this next shot. So, a desk

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and this is um her. Oh gosh. Let's say

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we're going to make the nurse look like

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this. And she's going to be a little bit

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bigger because she's closer to us. Um

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I'd say maybe she's more like that.

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And um maybe there's somebody over here.

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Maybe we'll see a cross happen. So this

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will all just say there's a cross of

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somebody that comes through the frame.

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Um, I see the camera as uh uh probably

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being well, he's probably off the grid,

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but let's just say the camera is is over

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in this section here. So that the camera

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sees uh well, actually, I'm going to

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take that back. I'd say the camera is

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probably over here so that the camera is

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able to see everything that happens on

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this side and is able to see the cross

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go into frame. One of the things we

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haven't talked about um well first of

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all I'll say this is a sort of higher

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angle

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wider shot

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with cross

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um

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sees both

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nurse frontal

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and Amy's back.

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I'm somebody that tends to think

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simultaneously. So, um, as I'm designing

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each shot, I'll think about things like,

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uh, okay, so who who's crossing? And,

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um, um, that really is the department of

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my first assistant director. He's the

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one who's going to be controlling the

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extras that are crossing. Uh, and then,

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you know, we might have a conversation

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subsequent to this about saying like,

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you know, what are they dressed in? Are

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they nurses? U, what is the diversity of

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the of the waiting room? Are the kids

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that are sitting there, are they

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children? Is this a pediatric place? Um,

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everybody that looks at these or that

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talks to me through the shots are going

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to have questions. They're going to say,

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"How many extras?" They're going to say,

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"What is the color scheme?" I see this,

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for example, as something that feels

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flat and drab. I don't see any big hints

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of color. Maybe there'll be a piece of

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color uh where there's um a sign on the

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wall that says, uh, you know, if you if

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somebody stops breathing, this is how

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you do CPR. But in general, I would keep

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this these these tones kind of cool and

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um and flat. Uh, this is a flat world.

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This is a world where people don't have

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money. This is a world of somebody who's

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coming out of prison and is stuck with

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all of the problems that of of everyday

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life that might be difficult for her to

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handle. She's also somebody who's in the

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middle of a crime story. So, um, these

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are going to be hard edges.

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Um, the next shot we want probably is we

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want to go back to Amy. Um, I would

256
00:09:49,040 --> 00:09:51,680
probably do two sizes on this shot. I

257
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would keep it a u you know sort of a

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medium close-up and have a tighter size

259
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as well. Um I in this case I would not

260
00:10:00,160 --> 00:10:02,399
suggest doing two cameras at once. I

261
00:10:02,399 --> 00:10:03,839
know this lots of people talk about

262
00:10:03,839 --> 00:10:05,200
doing two cameras at once. There are

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00:10:05,200 --> 00:10:06,560
times where it helps you in terms of

264
00:10:06,560 --> 00:10:08,080
time especially if you have a child or

265
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if you have a piece of action that can't

266
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be replicated but it does not help you

267
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in this situation because the person's

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ey line will be off camera. Um, if we

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00:10:18,079 --> 00:10:20,000
are using longer lenses, that means that

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00:10:20,000 --> 00:10:23,120
this over the shoulder, so this messy

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medium closeup is going to have a piece

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00:10:25,279 --> 00:10:27,920
of somebody in it. Um, in this case,

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00:10:27,920 --> 00:10:29,839
it'll have a piece of the nurse in it.

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Let's see. She's on she's on that side.

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So, here's a piece of the nurse. I'm

276
00:10:34,560 --> 00:10:35,760
just going to say it's a piece of her

277
00:10:35,760 --> 00:10:38,399
head. I'm going to draw her head there.

278
00:10:38,399 --> 00:10:40,880
Um, it might be too big, but And then

279
00:10:40,880 --> 00:10:43,120
I'm going to put Amy

280
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here.

281
00:10:47,760 --> 00:10:49,600
And uh we might want to widen out

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actually so that we have a piece of the

283
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child um because um we're going to want

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to see that kid and if we can and we

285
00:10:55,600 --> 00:10:57,200
have to when we get when we're there on

286
00:10:57,200 --> 00:10:58,480
the day we're going to have to figure

287
00:10:58,480 --> 00:11:00,399
out whether the head can be high enough.

288
00:11:00,399 --> 00:11:01,760
It would be very awkward for you to hold

289
00:11:01,760 --> 00:11:03,519
the child like this so that they're

290
00:11:03,519 --> 00:11:05,279
close to your face. So that we may

291
00:11:05,279 --> 00:11:07,040
actually have to loosen up a bit just so

292
00:11:07,040 --> 00:11:08,720
that we can make sure that we have a

293
00:11:08,720 --> 00:11:10,160
good frame that has the child in the

294
00:11:10,160 --> 00:11:13,040
frame. Um so put the child here for

295
00:11:13,040 --> 00:11:15,680
example. um or maybe even a little bit

296
00:11:15,680 --> 00:11:21,920
closer. Um so I would say two sizes

297
00:11:21,920 --> 00:11:24,720
static

298
00:11:24,720 --> 00:11:26,720
uh medium

299
00:11:26,720 --> 00:11:29,680
over the shoulder

300
00:11:29,680 --> 00:11:32,959
plus a

301
00:11:32,959 --> 00:11:36,680
uh single

302
00:11:37,040 --> 00:11:38,560
uh the medium of the shoulder will be

303
00:11:38,560 --> 00:11:43,040
with child or let's say with Lucas.

304
00:11:43,040 --> 00:11:46,160
Um, here's another question. Um, when

305
00:11:46,160 --> 00:11:48,000
you're using uh when you use a style

306
00:11:48,000 --> 00:11:50,000
that's a little bit more raw, you might

307
00:11:50,000 --> 00:11:52,480
want to have the camera that's uh a

308
00:11:52,480 --> 00:11:54,079
handheld camera, but that is being held

309
00:11:54,079 --> 00:11:56,160
confidently. So, we'll have a sense that

310
00:11:56,160 --> 00:11:58,640
there's a a little movement to the shot.

311
00:11:58,640 --> 00:12:00,880
Uh, not like a radical handheld

312
00:12:00,880 --> 00:12:02,640
movement, uh, but just a little sense

313
00:12:02,640 --> 00:12:04,160
that there's a little floaty quality to

314
00:12:04,160 --> 00:12:06,880
it. That gives it a sort of indie raw

315
00:12:06,880 --> 00:12:08,639
feeling to it. But it also means that

316
00:12:08,639 --> 00:12:10,240
you're that you're going to want to be

317
00:12:10,240 --> 00:12:11,920
consistent with that. You don't want to

318
00:12:11,920 --> 00:12:13,600
have start out with something that's

319
00:12:13,600 --> 00:12:15,279
very classical and composed and there's

320
00:12:15,279 --> 00:12:18,160
a dolly and then suddenly moved into a

321
00:12:18,160 --> 00:12:20,480
little bit of a shaky handheld quality.

322
00:12:20,480 --> 00:12:22,240
That would mean that our first shot is

323
00:12:22,240 --> 00:12:24,079
also going to be that shaky handheld

324
00:12:24,079 --> 00:12:26,000
quality. And that might not work so well

325
00:12:26,000 --> 00:12:27,760
with the pullback. That's something that

326
00:12:27,760 --> 00:12:29,360
I'll have to discuss with the DP when we

327
00:12:29,360 --> 00:12:32,320
get there. That shaky camera feeling is

328
00:12:32,320 --> 00:12:34,240
going to give you uh not only is it

329
00:12:34,240 --> 00:12:35,360
going to give you the rawness and the

330
00:12:35,360 --> 00:12:36,560
reality, but it's going to give you

331
00:12:36,560 --> 00:12:39,120
tension. Um don't forget her phone is

332
00:12:39,120 --> 00:12:40,639
ringing. Somebody's trying to get a hold

333
00:12:40,639 --> 00:12:42,800
of her. Um, she's trying to be lured

334
00:12:42,800 --> 00:12:45,200
back into this life of crime. This is

335
00:12:45,200 --> 00:12:46,880
something that she's fitting in. It's an

336
00:12:46,880 --> 00:12:48,320
emergency that she's fitting in and

337
00:12:48,320 --> 00:12:49,440
there's something else that's pulling

338
00:12:49,440 --> 00:12:51,760
her attention. So, that kind of shaky

339
00:12:51,760 --> 00:12:53,680
camera quality I think feels like it's

340
00:12:53,680 --> 00:12:56,399
the right thing. I would do uh next

341
00:12:56,399 --> 00:12:58,399
we're going to do a matching size on the

342
00:12:58,399 --> 00:13:01,360
nurse. We It's going to feel looser on

343
00:13:01,360 --> 00:13:02,880
the nurse because she doesn't have a

344
00:13:02,880 --> 00:13:05,279
child that she's holding. So, um her

345
00:13:05,279 --> 00:13:06,800
medium shot is going to feel like a

346
00:13:06,800 --> 00:13:08,000
little bit looser. And I think that's

347
00:13:08,000 --> 00:13:10,240
okay that the sizes don't match because

348
00:13:10,240 --> 00:13:12,480
Amy is our main character. The way that

349
00:13:12,480 --> 00:13:15,519
I come up with screen direction is I say

350
00:13:15,519 --> 00:13:17,680
I'm the nurse,

351
00:13:17,680 --> 00:13:20,000
the camera is here.

352
00:13:20,000 --> 00:13:21,519
That means the camera is over this

353
00:13:21,519 --> 00:13:24,560
shoulder. That means when I'm Amy, the

354
00:13:24,560 --> 00:13:26,959
camera is on this side of me. And

355
00:13:26,959 --> 00:13:28,720
usually when I try to ex when I try to

356
00:13:28,720 --> 00:13:30,639
talk about screen directions, I run

357
00:13:30,639 --> 00:13:32,399
around to the other side of the I run

358
00:13:32,399 --> 00:13:33,920
around to the other side of the table. I

359
00:13:33,920 --> 00:13:35,600
sit in the seat and I say, "The camera's

360
00:13:35,600 --> 00:13:37,360
on this shoulder." When you're an actor

361
00:13:37,360 --> 00:13:39,040
and you get very used to working with a

362
00:13:39,040 --> 00:13:40,880
camera, you remember what side of the of

363
00:13:40,880 --> 00:13:43,120
your shoulder the camera was on on each

364
00:13:43,120 --> 00:13:46,800
side. So the camera's on this side when

365
00:13:46,800 --> 00:13:48,320
um when we're having this conversation

366
00:13:48,320 --> 00:13:49,440
when we're going to go on the other

367
00:13:49,440 --> 00:13:50,959
side, the camera is going to be on that

368
00:13:50,959 --> 00:13:53,360
opposite shoulder.

369
00:13:53,360 --> 00:13:57,279
Uh so that means that was the over the

370
00:13:57,279 --> 00:13:58,959
shoulder on Amy and this will be the

371
00:13:58,959 --> 00:14:01,440
over the shoulder on the nurse. So the

372
00:14:01,440 --> 00:14:04,000
nurse is going to be smaller. We're

373
00:14:04,000 --> 00:14:05,360
going to give her glasses. How about

374
00:14:05,360 --> 00:14:08,720
that? That's my fabulous bit of artistic

375
00:14:08,720 --> 00:14:11,519
expression. And then Amy is going to be

376
00:14:11,519 --> 00:14:14,800
covering this side. Um I I probably are

377
00:14:14,800 --> 00:14:17,519
going to loosen up here. I probably once

378
00:14:17,519 --> 00:14:20,000
again we're going to do two sizes.

379
00:14:20,000 --> 00:14:23,040
Uh there'll be two sizes static,

380
00:14:23,040 --> 00:14:24,480
although not so static because we got a

381
00:14:24,480 --> 00:14:26,160
little bit of a shaky camera. There's

382
00:14:26,160 --> 00:14:29,279
going to be a medium over the shoulder

383
00:14:29,279 --> 00:14:34,160
and uh a plus a tighter single.

384
00:14:34,160 --> 00:14:36,880
Um, I would, you know, if you can, these

385
00:14:36,880 --> 00:14:38,320
days film is really cheap because it's

386
00:14:38,320 --> 00:14:39,839
not film, it's digital. You can shoot as

387
00:14:39,839 --> 00:14:41,519
much as you want. I would suggest

388
00:14:41,519 --> 00:14:43,680
shooting the whole scene on both sizes.

389
00:14:43,680 --> 00:14:46,720
Um, if you let let's just say you you

390
00:14:46,720 --> 00:14:48,800
stop and you only shoot a few lines on a

391
00:14:48,800 --> 00:14:50,959
tighter size, you never know what you're

392
00:14:50,959 --> 00:14:52,240
going to need in the cutting room. So,

393
00:14:52,240 --> 00:14:55,199
those choices are cheap, easy, fast, uh,

394
00:14:55,199 --> 00:14:56,720
much easier for the actors to do. You

395
00:14:56,720 --> 00:14:58,480
might as well just do two sizes.

396
00:14:58,480 --> 00:15:00,240
Occasionally, sometimes you'll do an

397
00:15:00,240 --> 00:15:01,760
extreme close-up, which you know you're

398
00:15:01,760 --> 00:15:03,519
only going to extreme close-up on

399
00:15:03,519 --> 00:15:06,160
somebody's lips saying rose bud. Okay,

400
00:15:06,160 --> 00:15:07,680
we know perfectly well that we're not

401
00:15:07,680 --> 00:15:09,199
going to use the extreme close-up on the

402
00:15:09,199 --> 00:15:11,360
lips for the entire scene. Then maybe

403
00:15:11,360 --> 00:15:13,440
you just shoot that one tiny little

404
00:15:13,440 --> 00:15:15,120
extreme close-up for just that line or

405
00:15:15,120 --> 00:15:18,480
for maybe the choice of two lines. Um,

406
00:15:18,480 --> 00:15:20,320
but but in general, it's probably a safe

407
00:15:20,320 --> 00:15:22,079
bet, especially as a a beginning

408
00:15:22,079 --> 00:15:23,760
filmmaker, to make sure that you have as

409
00:15:23,760 --> 00:15:25,440
many choices. Uh, you never know what's

410
00:15:25,440 --> 00:15:27,040
going to happen in the cutting room. Now

411
00:15:27,040 --> 00:15:28,720
we have the part of the sequence where

412
00:15:28,720 --> 00:15:31,519
the nurse dismisses her and she is going

413
00:15:31,519 --> 00:15:34,000
to walk into go towards where the

414
00:15:34,000 --> 00:15:36,079
waiting area would be. Um, that's an

415
00:15:36,079 --> 00:15:38,000
opportunity for some movement and an

416
00:15:38,000 --> 00:15:40,800
opportunity to see uh uh the character

417
00:15:40,800 --> 00:15:42,240
get up and to see the other side of the

418
00:15:42,240 --> 00:15:45,120
room. And we'll decide whether uh we,

419
00:15:45,120 --> 00:15:48,079
you know, uh whether we we dolly and

420
00:15:48,079 --> 00:15:50,959
dissolve out of that dolly or whether um

421
00:15:50,959 --> 00:15:53,600
we we go to a point and stay static and

422
00:15:53,600 --> 00:15:55,680
wide, whether we boom up in order to

423
00:15:55,680 --> 00:15:57,279
give height or whether we just stay in a

424
00:15:57,279 --> 00:16:00,320
kind of a flat plane. Um we'll know that

425
00:16:00,320 --> 00:16:01,360
when we know the location.

426
00:16:01,360 --> 00:16:02,399
Unfortunately, we don't have the

427
00:16:02,399 --> 00:16:04,240
location yet. So, some of this is just

428
00:16:04,240 --> 00:16:07,440
arbitrary thoughts in my head. Um, I I

429
00:16:07,440 --> 00:16:09,920
do see that there we the the a nice

430
00:16:09,920 --> 00:16:12,079
place for that would be a profile shot.

431
00:16:12,079 --> 00:16:14,399
Uh, let's say we have the the desk is

432
00:16:14,399 --> 00:16:20,000
here. We have um we have Amy here.

433
00:16:20,000 --> 00:16:21,600
Oh, I have to give her a nose for a

434
00:16:21,600 --> 00:16:24,639
profile with her child. And then we have

435
00:16:24,639 --> 00:16:28,079
the nurse here. Um, the point of view

436
00:16:28,079 --> 00:16:30,560
would probably be from from this point

437
00:16:30,560 --> 00:16:32,079
of view. And now we know that she's

438
00:16:32,079 --> 00:16:33,360
going to go in this direction. This is

439
00:16:33,360 --> 00:16:35,120
where the

440
00:16:35,120 --> 00:16:37,920
So if we follow her, once again, I'm the

441
00:16:37,920 --> 00:16:39,519
actor, so I'm always thinking in terms

442
00:16:39,519 --> 00:16:40,720
of how it's going to look like on the

443
00:16:40,720 --> 00:16:43,120
set. I'm going to follow I mean, she's

444
00:16:43,120 --> 00:16:44,399
going to get up and I'm going to want to

445
00:16:44,399 --> 00:16:47,199
follow her. And uh uh the way to do that

446
00:16:47,199 --> 00:16:49,600
would be to sort of counter move. So if

447
00:16:49,600 --> 00:16:52,079
we're if the let's just say that I would

448
00:16:52,079 --> 00:16:54,320
say that the camera I'm in the scene,

449
00:16:54,320 --> 00:16:57,360
the camera is right around here. As she

450
00:16:57,360 --> 00:16:59,279
moves in this direction, the camera

451
00:16:59,279 --> 00:17:03,040
would counter left and uh move with her,

452
00:17:03,040 --> 00:17:05,520
move away from the nur nurse, move away

453
00:17:05,520 --> 00:17:08,160
from her and watch her with her back to

454
00:17:08,160 --> 00:17:11,360
us walking away to go sit down at the uh

455
00:17:11,360 --> 00:17:13,120
waiting area and maybe just sit in a

456
00:17:13,120 --> 00:17:15,760
chair with her son. Um that would

457
00:17:15,760 --> 00:17:17,439
require

458
00:17:17,439 --> 00:17:19,679
probably that would require probably

459
00:17:19,679 --> 00:17:21,839
three of these panels. So, one, two, and

460
00:17:21,839 --> 00:17:23,600
three. Maybe let's put them all in one

461
00:17:23,600 --> 00:17:26,640
let's put it all on one uh like on one

462
00:17:26,640 --> 00:17:31,840
page. So we have let's say we have uh

463
00:17:31,840 --> 00:17:34,799
I'm giving her a lot of cinematic uh

464
00:17:34,799 --> 00:17:36,880
negative space on this side. But let's

465
00:17:36,880 --> 00:17:39,600
say we have Amy here. We have the desk

466
00:17:39,600 --> 00:17:42,400
here. We have the nurse here. She's in

467
00:17:42,400 --> 00:17:43,600
profile. That's why I'm giving her a

468
00:17:43,600 --> 00:17:46,000
nose. Those are her glasses. Then she's

469
00:17:46,000 --> 00:17:47,120
going to go in this direction. She's

470
00:17:47,120 --> 00:17:48,960
going to this waiting area. The next

471
00:17:48,960 --> 00:17:50,480
shot that we have of her will probably

472
00:17:50,480 --> 00:17:53,120
be in profile because she's stood up and

473
00:17:53,120 --> 00:17:56,080
you know we may be carrying her. She may

474
00:17:56,080 --> 00:17:59,679
have ended up like that and she's going

475
00:17:59,679 --> 00:18:02,240
in this direction. We've lost the nurse

476
00:18:02,240 --> 00:18:03,679
at this point. Maybe we have a piece of

477
00:18:03,679 --> 00:18:07,200
the desk. And now the next shot. So this

478
00:18:07,200 --> 00:18:10,080
is continuing. This is their our dolly.

479
00:18:10,080 --> 00:18:14,799
And the last shot will be of

480
00:18:14,799 --> 00:18:18,880
the waiting area with her back to us. H

481
00:18:18,880 --> 00:18:21,280
not sure how that will look with her

482
00:18:21,280 --> 00:18:24,919
back to us

483
00:18:25,760 --> 00:18:28,720
heading in that area. You know an easier

484
00:18:28,720 --> 00:18:30,080
way I'm going to write down what those

485
00:18:30,080 --> 00:18:33,039
shots are. So I'll say

486
00:18:33,039 --> 00:18:34,559
uh

487
00:18:34,559 --> 00:18:37,840
dolly left.

488
00:18:37,840 --> 00:18:41,039
So, I'll say profile

489
00:18:41,039 --> 00:18:42,799
uh nurse. I'm gonna give her an N. And

490
00:18:42,799 --> 00:18:47,039
Amy Dolly left

491
00:18:47,039 --> 00:18:49,039
uh

492
00:18:49,039 --> 00:18:55,760
as they move to waiting area.

493
00:18:55,760 --> 00:18:59,280
And I might say on uh end on her back on

494
00:18:59,280 --> 00:19:02,720
on her back. I might take her to the

495
00:19:02,720 --> 00:19:04,080
waiting area and have her sit down. and

496
00:19:04,080 --> 00:19:05,840
we'll see that kind of lonely image of a

497
00:19:05,840 --> 00:19:08,960
of a person waiting. Um, so this is kind

498
00:19:08,960 --> 00:19:11,840
of a a flat uh horizontal shot. You you

499
00:19:11,840 --> 00:19:13,280
may decide that you would like to do

500
00:19:13,280 --> 00:19:14,559
something tricky with the end of the

501
00:19:14,559 --> 00:19:16,000
scene. You know, maybe you'd like to

502
00:19:16,000 --> 00:19:17,919
boom up higher or maybe you'd actually

503
00:19:17,919 --> 00:19:19,840
like maybe you'd like to maybe there's a

504
00:19:19,840 --> 00:19:21,360
desk or maybe there's a passer by

505
00:19:21,360 --> 00:19:23,360
somebody that passes. And that wipe will

506
00:19:23,360 --> 00:19:24,880
allow you to have a transition to the

507
00:19:24,880 --> 00:19:26,240
next scene. It's up to you to decide

508
00:19:26,240 --> 00:19:27,679
what your transition is to the next

509
00:19:27,679 --> 00:19:30,559
scene. Um, a good way of doing this Oh,

510
00:19:30,559 --> 00:19:32,320
well, I'll just keep going. So this

511
00:19:32,320 --> 00:19:35,520
dolly continues until um we're on her

512
00:19:35,520 --> 00:19:37,280
back and then she's the the two of them

513
00:19:37,280 --> 00:19:39,840
are sitting in the chair. Another good

514
00:19:39,840 --> 00:19:43,120
way of uh and faster and more economical

515
00:19:43,120 --> 00:19:46,960
way is

516
00:19:46,960 --> 00:19:50,480
is just to look at your set and almost

517
00:19:50,480 --> 00:19:52,960
like a blueprint of your set. Your set

518
00:19:52,960 --> 00:19:56,080
looks like this. You have chairs over

519
00:19:56,080 --> 00:19:59,840
here. Let's say you have a you have a a

520
00:19:59,840 --> 00:20:02,640
desk here. You have the nurse who's

521
00:20:02,640 --> 00:20:05,280
going to be here

522
00:20:05,280 --> 00:20:08,799
and you have the Amy here.

523
00:20:08,799 --> 00:20:10,640
Where what are the different camera

524
00:20:10,640 --> 00:20:13,360
angles that we've used so far? The first

525
00:20:13,360 --> 00:20:16,720
camera angle was here. It was a closeup.

526
00:20:16,720 --> 00:20:19,520
That was number one. The second camera

527
00:20:19,520 --> 00:20:21,200
and it got a little wider so it went in

528
00:20:21,200 --> 00:20:23,600
that direction. The second camera angle

529
00:20:23,600 --> 00:20:26,960
was from well probably might have been

530
00:20:26,960 --> 00:20:29,280
over here so that we captured you know

531
00:20:29,280 --> 00:20:31,520
more of a passerby that came by and so

532
00:20:31,520 --> 00:20:33,200
we get to see both of them. So that's

533
00:20:33,200 --> 00:20:35,679
number two. The third angle that we came

534
00:20:35,679 --> 00:20:41,039
up with was a was a was two was two

535
00:20:41,039 --> 00:20:44,720
setups of a closeup from this side. Oh

536
00:20:44,720 --> 00:20:46,480
actually hang on. It has to be over her

537
00:20:46,480 --> 00:20:50,720
head. So that side. So that's three and

538
00:20:50,720 --> 00:20:52,080
then a single which is a little bit

539
00:20:52,080 --> 00:20:56,960
tighter here. And from this side which

540
00:20:56,960 --> 00:20:59,960
is

541
00:21:00,320 --> 00:21:04,640
number four five was our dolly shot

542
00:21:04,640 --> 00:21:08,159
um uh which went from

543
00:21:08,159 --> 00:21:10,400
which went from a profile let's say from

544
00:21:10,400 --> 00:21:12,400
this angle

545
00:21:12,400 --> 00:21:14,880
and then

546
00:21:14,880 --> 00:21:18,480
it dollied over until the camera was

547
00:21:18,480 --> 00:21:21,120
looking in this direction.

548
00:21:21,120 --> 00:21:23,760
So that was five. If you were a

549
00:21:23,760 --> 00:21:25,120
production designer, you would

550
00:21:25,120 --> 00:21:26,720
understand that that was the set that

551
00:21:26,720 --> 00:21:27,919
you just built. And so, you'll know

552
00:21:27,919 --> 00:21:29,760
where the camera angles are. You'll know

553
00:21:29,760 --> 00:21:31,200
where your practical lights are going to

554
00:21:31,200 --> 00:21:32,640
be. You'll know where you're going to

555
00:21:32,640 --> 00:21:35,120
place your desk. If you're the director

556
00:21:35,120 --> 00:21:37,360
of cinematographer, you'll know which

557
00:21:37,360 --> 00:21:39,520
sections of the set need to be lit. If

558
00:21:39,520 --> 00:21:41,520
you're the first AD, you'll understand

559
00:21:41,520 --> 00:21:43,520
where you can place the extras. If

560
00:21:43,520 --> 00:21:45,200
you're catering, you know where not to

561
00:21:45,200 --> 00:21:49,600
be. If uh you are um let's see who else.

562
00:21:49,600 --> 00:21:51,520
sound. You'll know how wide they're

563
00:21:51,520 --> 00:21:52,799
going to be. So, you can decide about

564
00:21:52,799 --> 00:21:54,000
whether you where you're going to place

565
00:21:54,000 --> 00:21:54,960
your boom and whether you're going to

566
00:21:54,960 --> 00:21:56,320
place your boommen and your equipment

567
00:21:56,320 --> 00:21:59,120
and your electricity and your wires. Uh

568
00:21:59,120 --> 00:22:02,000
if you are costumes, um you're going to

569
00:22:02,000 --> 00:22:03,600
know how many extras you have and what

570
00:22:03,600 --> 00:22:05,679
colors they should be wearing. Um so,

571
00:22:05,679 --> 00:22:08,159
all of these all of this is these are

572
00:22:08,159 --> 00:22:10,080
just silly practical tools to give

573
00:22:10,080 --> 00:22:12,320
people more information. You can give

574
00:22:12,320 --> 00:22:13,919
those information by talking. You can

575
00:22:13,919 --> 00:22:15,600
give those information by lists. You can

576
00:22:15,600 --> 00:22:17,520
give those information by these terrible

577
00:22:17,520 --> 00:22:20,000
scribbly drawings or you can just tell

578
00:22:20,000 --> 00:22:21,600
someone else and they'll tell them. But

579
00:22:21,600 --> 00:22:23,600
um my feeling is is that the more you

580
00:22:23,600 --> 00:22:25,600
engage in communication and telling

581
00:22:25,600 --> 00:22:27,360
people what you're looking for, the more

582
00:22:27,360 --> 00:22:29,120
they'll be able to deliver their

583
00:22:29,120 --> 00:22:30,720
language, whether it's the language of

584
00:22:30,720 --> 00:22:32,080
props, the language of costumes, the

585
00:22:32,080 --> 00:22:33,840
language of cinematography, their

586
00:22:33,840 --> 00:22:36,240
language onto your train. All I'm doing

587
00:22:36,240 --> 00:22:39,200
is sitting at a desk thinking with a pen

588
00:22:39,200 --> 00:22:41,200
and a piece of paper and a lot of

589
00:22:41,200 --> 00:22:42,960
talking. Uh and that pretty much is

590
00:22:42,960 --> 00:22:44,880
directing is having a vision and being

591
00:22:44,880 --> 00:22:46,720
able to articulate that to others so

592
00:22:46,720 --> 00:22:49,120
that they can climb on and collaborate

593
00:22:49,120 --> 00:22:51,600
with your vision.

1
00:00:12,240 --> 00:00:13,679
There's a part of me that is that boring

2
00:00:13,679 --> 00:00:15,200
type A person. You know, I like things

3
00:00:15,200 --> 00:00:17,199
to be organized. I like to make lists. I

4
00:00:17,199 --> 00:00:18,640
like to have everything nailed down so

5
00:00:18,640 --> 00:00:20,960
that when I get there and it's not going

6
00:00:20,960 --> 00:00:23,760
the way that I had hoped, I can move to

7
00:00:23,760 --> 00:00:26,640
plan B knowing that I had plan A. I'm

8
00:00:26,640 --> 00:00:28,560
always aware of scheduling uh because

9
00:00:28,560 --> 00:00:30,320
it's going to impact on my performances.

10
00:00:30,320 --> 00:00:31,920
It's going to impact on my day. It's

11
00:00:31,920 --> 00:00:33,920
going to impact on whether I get the the

12
00:00:33,920 --> 00:00:36,000
footage that I want. Um I shot list

13
00:00:36,000 --> 00:00:37,760
everything right in the middle it says

14
00:00:37,760 --> 00:00:40,719
lunch because just a bunch of shots laid

15
00:00:40,719 --> 00:00:42,640
down without an understanding of where

16
00:00:42,640 --> 00:00:43,840
they're going to head during where

17
00:00:43,840 --> 00:00:45,360
they're going to fall during the day

18
00:00:45,360 --> 00:00:47,520
doesn't allow you to have a sense of

19
00:00:47,520 --> 00:00:49,920
where you're headed. Uh very often

20
00:00:49,920 --> 00:00:52,160
people will waste the early parts of the

21
00:00:52,160 --> 00:00:53,840
day which is the most productive part

22
00:00:53,840 --> 00:00:55,199
and then by the time you get to lunch

23
00:00:55,199 --> 00:00:57,520
you realize you have 50 more shots left.

24
00:00:57,520 --> 00:01:00,160
What are you going to do? So um always

25
00:01:00,160 --> 00:01:02,640
being aware of scheduling.

26
00:01:02,640 --> 00:01:05,119
Don't feel that it's not creative. Um in

27
00:01:05,119 --> 00:01:06,400
some ways you're protecting yourself.

28
00:01:06,400 --> 00:01:07,920
You're protecting your ability to be

29
00:01:07,920 --> 00:01:10,000
creative by making sure that you have

30
00:01:10,000 --> 00:01:14,119
your parameters nailed down.

31
00:01:17,840 --> 00:01:20,560
I love to work quickly. Um I'm very well

32
00:01:20,560 --> 00:01:22,000
suited to it. It's why I like working in

33
00:01:22,000 --> 00:01:25,040
television. Um I I like getting a lot

34
00:01:25,040 --> 00:01:27,920
done. I like being decisive. Uh the best

35
00:01:27,920 --> 00:01:30,080
way to your crew will love to work

36
00:01:30,080 --> 00:01:31,600
quickly because they feel like they're

37
00:01:31,600 --> 00:01:32,960
not being taken advantage of and they

38
00:01:32,960 --> 00:01:34,479
feel like they're getting a lot done.

39
00:01:34,479 --> 00:01:35,920
But you want to make sure that it's not

40
00:01:35,920 --> 00:01:37,439
sloppy, that everything feels

41
00:01:37,439 --> 00:01:40,320
intentional and that it's well prepared.

42
00:01:40,320 --> 00:01:42,479
The best money that you will ever spend

43
00:01:42,479 --> 00:01:45,520
in your whole life is on prep. If you

44
00:01:45,520 --> 00:01:48,240
can add time to prep and if you can prep

45
00:01:48,240 --> 00:01:50,640
more than you ever thought possible, you

46
00:01:50,640 --> 00:01:52,479
will be more prep. You will you will

47
00:01:52,479 --> 00:01:54,880
save money, save time, save energy, and

48
00:01:54,880 --> 00:01:57,119
always have more on screen. Um, if

49
00:01:57,119 --> 00:01:58,799
there's one piece of advice that I have,

50
00:01:58,799 --> 00:02:00,640
it's spend as much time in prep as you

51
00:02:00,640 --> 00:02:03,280
possibly can. It's the cheapest time on

52
00:02:03,280 --> 00:02:04,719
the film. It's when the clocks aren't

53
00:02:04,719 --> 00:02:06,399
running. It's when people aren't on

54
00:02:06,399 --> 00:02:08,640
payroll. It's just you and maybe your

55
00:02:08,640 --> 00:02:10,959
producers and maybe the writer and

56
00:02:10,959 --> 00:02:12,560
you're uh sitting in a room and coming

57
00:02:12,560 --> 00:02:14,080
up with things occasionally bringing on

58
00:02:14,080 --> 00:02:17,920
a first ad. He will help the director be

59
00:02:17,920 --> 00:02:20,000
motivated and be clear. He'll always be

60
00:02:20,000 --> 00:02:21,760
thinking forward to how to reschedule to

61
00:02:21,760 --> 00:02:25,360
make it go faster. Um if you can be if

62
00:02:25,360 --> 00:02:27,360
you can listen to your first AD and you

63
00:02:27,360 --> 00:02:29,200
have a first AD that's conscious and is

64
00:02:29,200 --> 00:02:31,440
and is really a a solid filmmaker as

65
00:02:31,440 --> 00:02:33,599
well as a solid film as a solid

66
00:02:33,599 --> 00:02:35,360
technician, then you'll be able to get

67
00:02:35,360 --> 00:02:38,239
your day.

68
00:02:42,640 --> 00:02:44,480
The first AD is the person who controls

69
00:02:44,480 --> 00:02:46,080
the ambiance on the set and make sure

70
00:02:46,080 --> 00:02:48,160
that the actor has what the actor needs

71
00:02:48,160 --> 00:02:50,720
in order to in order to give a

72
00:02:50,720 --> 00:02:53,360
performance. Some actors

73
00:02:53,360 --> 00:02:56,640
uh need to sit in a corner and with a

74
00:02:56,640 --> 00:02:58,720
funny red nose on and sing opera. Who

75
00:02:58,720 --> 00:03:02,080
knows? Some actors um need to be

76
00:03:02,080 --> 00:03:03,680
distracted. They need to not be

77
00:03:03,680 --> 00:03:05,120
self-conscious. they need to just drink

78
00:03:05,120 --> 00:03:07,920
a coffee and yuck yuck with the crew and

79
00:03:07,920 --> 00:03:10,159
then get back into their seat. Uh but

80
00:03:10,159 --> 00:03:12,480
there is a line uh for example that we

81
00:03:12,480 --> 00:03:16,080
all know which is that who the actors in

82
00:03:16,080 --> 00:03:19,280
front of the camera uh that that their

83
00:03:19,280 --> 00:03:21,280
moment in front of the camera is what we

84
00:03:21,280 --> 00:03:23,040
are all here to support. You know when

85
00:03:23,040 --> 00:03:25,040
you're scheduling um there are all sorts

86
00:03:25,040 --> 00:03:26,480
of different exigencies that come into

87
00:03:26,480 --> 00:03:29,200
the play. Uh sometimes you can only get

88
00:03:29,200 --> 00:03:30,480
this location in the morning or

89
00:03:30,480 --> 00:03:32,080
sometimes the sun only rises at a

90
00:03:32,080 --> 00:03:33,680
certain place. your DP says, "I can only

91
00:03:33,680 --> 00:03:36,959
shoot that at night." Or, um, sometimes

92
00:03:36,959 --> 00:03:39,599
you have an actor who's doing a a a play

93
00:03:39,599 --> 00:03:41,200
on Broadway, and so you can only have

94
00:03:41,200 --> 00:03:42,640
them a certain number of days. You're

95
00:03:42,640 --> 00:03:44,720
always balancing and juggling these

96
00:03:44,720 --> 00:03:48,640
exigencies. Um, for the most part, you

97
00:03:48,640 --> 00:03:50,319
know, you you roll with that. You know,

98
00:03:50,319 --> 00:03:52,000
you may have to shoot your last scene of

99
00:03:52,000 --> 00:03:53,200
your movie. You may have to shoot it on

100
00:03:53,200 --> 00:03:54,879
the very first day, not ever knowing how

101
00:03:54,879 --> 00:03:55,920
the film's going to go. You're going to

102
00:03:55,920 --> 00:03:57,120
shoot your last scene of the movie on

103
00:03:57,120 --> 00:03:59,360
the very first day. But occasionally

104
00:03:59,360 --> 00:04:00,799
there are some places where you have to

105
00:04:00,799 --> 00:04:02,560
really put your foot down and that's

106
00:04:02,560 --> 00:04:04,400
usually about the actors because that's

107
00:04:04,400 --> 00:04:06,000
just not something that you can mess

108
00:04:06,000 --> 00:04:10,080
with. Um sometimes um it may be more

109
00:04:10,080 --> 00:04:12,959
convenient to shoot something on that

110
00:04:12,959 --> 00:04:14,319
particular part of the day, but you know

111
00:04:14,319 --> 00:04:16,079
that an actor's not ready. You know that

112
00:04:16,079 --> 00:04:17,199
an actor doesn't feel comfortable with

113
00:04:17,199 --> 00:04:18,880
their lines. You know that an actor has

114
00:04:18,880 --> 00:04:20,720
it's their first day of shooting and now

115
00:04:20,720 --> 00:04:21,759
you're going to make them do the most

116
00:04:21,759 --> 00:04:23,040
emotional scene in the movie on the

117
00:04:23,040 --> 00:04:24,560
first day of shooting. You have to ease

118
00:04:24,560 --> 00:04:26,800
them in. So the first consideration

119
00:04:26,800 --> 00:04:30,680
should be the actors.

120
00:04:35,520 --> 00:04:36,560
There's a couple of things that you can

121
00:04:36,560 --> 00:04:37,520
do in prep that are a little

122
00:04:37,520 --> 00:04:39,120
unconventional. Um I mean one of the

123
00:04:39,120 --> 00:04:40,320
things that I think is very helpful in

124
00:04:40,320 --> 00:04:41,680
prep if you're somebody that has makes

125
00:04:41,680 --> 00:04:44,639
chatty films like I do is to do a table

126
00:04:44,639 --> 00:04:47,360
read. Um it's inexpensive. People love

127
00:04:47,360 --> 00:04:49,360
doing it and you get to hear your film

128
00:04:49,360 --> 00:04:51,680
from beginning to end. Um I do lots of

129
00:04:51,680 --> 00:04:53,680
table reads before I start shooting. I'm

130
00:04:53,680 --> 00:04:55,440
because I'm an actor and I'm I'm, you

131
00:04:55,440 --> 00:04:57,680
know, it's it's the way I think. I need

132
00:04:57,680 --> 00:04:59,440
to hear it. I need to hear the pacing. I

133
00:04:59,440 --> 00:05:00,960
need to hear the actors inhabit it. And

134
00:05:00,960 --> 00:05:03,680
then I make a lot of uh rewrites based

135
00:05:03,680 --> 00:05:06,960
on those table reads. Um, you know,

136
00:05:06,960 --> 00:05:10,960
another great thing to do in prep is um

137
00:05:10,960 --> 00:05:12,720
to have a friend who you respect who

138
00:05:12,720 --> 00:05:13,919
might be a writer or an editor or

139
00:05:13,919 --> 00:05:15,840
somebody who's familiar with filmm read

140
00:05:15,840 --> 00:05:18,240
your script and have them identify your

141
00:05:18,240 --> 00:05:21,120
biggest weakness. Um now you may not

142
00:05:21,120 --> 00:05:23,039
want to change that weakness but just

143
00:05:23,039 --> 00:05:25,280
being aware of it uh will give you a new

144
00:05:25,280 --> 00:05:26,720
kind of understanding of your film and

145
00:05:26,720 --> 00:05:29,039
will make you conscious of something. Um

146
00:05:29,039 --> 00:05:34,000
for example um if you have a a film that

147
00:05:34,000 --> 00:05:37,919
you know it may be quite sentimental. Uh

148
00:05:37,919 --> 00:05:40,240
if your friend said I love the movie but

149
00:05:40,240 --> 00:05:42,080
you know just be careful but it doesn't

150
00:05:42,080 --> 00:05:44,160
go too sentimental because it's really

151
00:05:44,160 --> 00:05:46,400
teetering on the edge. Um that's

152
00:05:46,400 --> 00:05:47,600
something that you can do something

153
00:05:47,600 --> 00:05:49,440
about. You know, even if your your film

154
00:05:49,440 --> 00:05:51,919
is feels quite sensitive, uh maybe you

155
00:05:51,919 --> 00:05:53,680
start doing things like, you know, at

156
00:05:53,680 --> 00:05:55,360
the end of sequences instead of just

157
00:05:55,360 --> 00:05:57,840
letting a feeling just like stay there

158
00:05:57,840 --> 00:06:00,639
and and and you know, kind of indulging

159
00:06:00,639 --> 00:06:02,320
the feeling if there's something that

160
00:06:02,320 --> 00:06:04,240
happens at the end of the of the

161
00:06:04,240 --> 00:06:06,479
sequence that kind of stops that

162
00:06:06,479 --> 00:06:09,280
emotion. Um just little things to kind

163
00:06:09,280 --> 00:06:10,400
of cut the edge off of the

164
00:06:10,400 --> 00:06:12,319
sentimentality. If you are aware that

165
00:06:12,319 --> 00:06:13,919
you already have that problem, that it's

166
00:06:13,919 --> 00:06:15,280
a weakness of your script, it doesn't

167
00:06:15,280 --> 00:06:17,039
mean that you have to just bulldoze your

168
00:06:17,039 --> 00:06:19,600
script and change it. You can go and

169
00:06:19,600 --> 00:06:21,600
just be aware and conscious of the fact

170
00:06:21,600 --> 00:06:23,199
that you, you know, you're already

171
00:06:23,199 --> 00:06:24,479
teetering on the edge of something and

172
00:06:24,479 --> 00:06:28,280
be able to write that ship.

173
00:06:33,520 --> 00:06:37,600
We tend to we tend to hold on to things

174
00:06:37,600 --> 00:06:40,400
that feel safe. I did a movie once where

175
00:06:40,400 --> 00:06:43,840
the director uh wanted me to have a chip

176
00:06:43,840 --> 00:06:46,400
tooth and long hair. I didn't have a

177
00:06:46,400 --> 00:06:48,080
chip front tooth and I didn't have long

178
00:06:48,080 --> 00:06:50,639
longish hair, but that's what it said in

179
00:06:50,639 --> 00:06:53,199
the book. And he just couldn't get that

180
00:06:53,199 --> 00:06:56,080
out of his mind. At 12 years old, when

181
00:06:56,080 --> 00:06:58,720
you give a full denture piece and a big

182
00:06:58,720 --> 00:07:01,039
old wig, you just can't get the same

183
00:07:01,039 --> 00:07:03,360
performance out of somebody. Um there's

184
00:07:03,360 --> 00:07:05,680
a kind of naturalness that you're going

185
00:07:05,680 --> 00:07:08,960
to lose. and he just couldn't let go of

186
00:07:08,960 --> 00:07:11,120
the thing that this idea that he had in

187
00:07:11,120 --> 00:07:13,440
his hotel room. It made him feel safe.

188
00:07:13,440 --> 00:07:14,639
It made him feel good that he had

189
00:07:14,639 --> 00:07:16,160
something to hold on to that he was sure

190
00:07:16,160 --> 00:07:18,000
of. And at the end of the day, he

191
00:07:18,000 --> 00:07:20,560
probably should have he probably should

192
00:07:20,560 --> 00:07:22,240
have let it go in order to have a more

193
00:07:22,240 --> 00:07:23,840
fully realized and naturalistic

194
00:07:23,840 --> 00:07:26,000
character. So that that's really the sin

195
00:07:26,000 --> 00:07:28,240
that we all do, which is we we want to

196
00:07:28,240 --> 00:07:30,400
make decisions and we hold on to some of

197
00:07:30,400 --> 00:07:32,560
them despite the fact that we start

198
00:07:32,560 --> 00:07:34,319
seeing that they need to evolve and

199
00:07:34,319 --> 00:07:36,960
change with as they hit air, as they hit

200
00:07:36,960 --> 00:07:38,639
the oxygen and as they hit all the

201
00:07:38,639 --> 00:07:40,319
different people that that are part of

202
00:07:40,319 --> 00:07:43,680
the experience of making a movie.

1
00:00:06,400 --> 00:00:08,720
Casting your movie, I would say, is the

2
00:00:08,720 --> 00:00:10,559
most important thing because um there

3
00:00:10,559 --> 00:00:12,240
are a lot of choices that you can change

4
00:00:12,240 --> 00:00:14,639
in the moment. Um there are a lot of

5
00:00:14,639 --> 00:00:16,400
decisions that you can make and remake

6
00:00:16,400 --> 00:00:19,760
over time. Uh but with an actor, you've

7
00:00:19,760 --> 00:00:21,760
chosen a human being that comes with a

8
00:00:21,760 --> 00:00:24,160
whole history of possibility and

9
00:00:24,160 --> 00:00:26,880
impossibilities. And uh hopefully you've

10
00:00:26,880 --> 00:00:30,400
made that choice carefully because in 20

11
00:00:30,400 --> 00:00:31,920
minutes you're not going to be able to

12
00:00:31,920 --> 00:00:34,719
change uh drastically uh somebody's

13
00:00:34,719 --> 00:00:38,079
entire performance. Hopefully uh you

14
00:00:38,079 --> 00:00:40,399
know when you've cast an actor, you've

15
00:00:40,399 --> 00:00:41,920
known that you're on the same train,

16
00:00:41,920 --> 00:00:43,280
that you're speaking the same language,

17
00:00:43,280 --> 00:00:44,480
that hopefully you're telling the same

18
00:00:44,480 --> 00:00:47,760
story and hopefully they are open enough

19
00:00:47,760 --> 00:00:49,840
to tell you what they've been working

20
00:00:49,840 --> 00:00:53,520
on. Um, I think people sometimes believe

21
00:00:53,520 --> 00:00:58,320
that a director uh entirely creates a

22
00:00:58,320 --> 00:01:00,960
performance from an actor. Um, I've

23
00:01:00,960 --> 00:01:02,480
never found that to be true. I found

24
00:01:02,480 --> 00:01:04,799
that a director can inspire an actor to

25
00:01:04,799 --> 00:01:06,799
bring a performance to the table. Uh,

26
00:01:06,799 --> 00:01:09,119
that a director can collaborate with an

27
00:01:09,119 --> 00:01:12,000
actor during their process. But it

28
00:01:12,000 --> 00:01:14,400
really is the actor who through

29
00:01:14,400 --> 00:01:16,000
preparation

30
00:01:16,000 --> 00:01:18,000
um brings everything to the table. And

31
00:01:18,000 --> 00:01:20,479
then it really is the director as a kind

32
00:01:20,479 --> 00:01:22,799
of

33
00:01:22,799 --> 00:01:26,400
dog whisperer uh who's able to shepherd

34
00:01:26,400 --> 00:01:29,119
uh that actor and to shift and maybe

35
00:01:29,119 --> 00:01:31,119
change them slightly in certain

36
00:01:31,119 --> 00:01:33,040
different directions, but you really

37
00:01:33,040 --> 00:01:35,200
only have a few minutes to change a

38
00:01:35,200 --> 00:01:38,159
actor's performance. So, it's hopefully

39
00:01:38,159 --> 00:01:41,880
you've gotten the right actor.

40
00:01:46,880 --> 00:01:49,360
Occasionally, uh, an actor will pop out

41
00:01:49,360 --> 00:01:51,680
to you when you're reading a script. Um,

42
00:01:51,680 --> 00:01:53,040
but for me, that doesn't happen very

43
00:01:53,040 --> 00:01:55,600
often. I think for me, I think about the

44
00:01:55,600 --> 00:01:58,640
story first. I think about, um, the

45
00:01:58,640 --> 00:02:00,320
changes that I might want make to that

46
00:02:00,320 --> 00:02:02,320
story, the development process of the

47
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script, and then little by little,

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actors might emerge. Um the casting

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process uh is really what starts making

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making it all bubble up where you start

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seeing actors say the lines and you

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start understanding why dialogue works

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or doesn't work and then you start

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understanding why that actor is correct

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or why that actor isn't quite right. Um

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that process of having that time of

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watching actors inhabit the characters

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and come up with things and bring things

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to the table that to me is so important

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and I would never cut it short. Um these

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days we have all this technology with

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video and you can see people remotely

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and you can scroll through 50 different

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performances in a very short period of

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time and sometimes that short changes

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the process of hearing the words over

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and over again spoken. Uh uh watching uh

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actors grapple and struggle with

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problems in the screenplay. Um, I like

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to take as much time as I can uh in the

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casting process and I like to be in the

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room if I can.

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I've been working with the same casting

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director for many many years, a good

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friend Ay Kaufman and um A very

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well-known casting director. We were all

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very young together. Um, and she uh the

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the experience that we had together that

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I think was the most seminal for us was

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finding uh the little boy to play Tate

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in Little Man Tate. We went through

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hundreds of children uh lots of actor

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children. I was an actor. I was a child

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actor. So I appreciated the craft that

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child actors do bring to the process.

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But we started understanding after a

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hundred kids, we understood that we

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probably were going to just need a kid

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that we found. and Ay was able to go

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into schools. She found a kid that had

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never been in a school play before and

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um they just brought a classroom of

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children and she started talking to

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them. She brought him in uh among many

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of the kids who she gave screenplays to,

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she had him read and uh

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uh she taped him and brought that tape

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uh for me to see. And there was

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something so riveting about him. It's

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was indescribable. It wasn't that he was

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the greatest actor in the world or that

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he read better than others, but there

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was something about him that I was

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fascinated by. And I think that's what

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you're looking for and that's what you

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and your casting director are looking

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for is to be fascinated by that

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character and by that actor, no matter

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how small the part, I'm always looking

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to be fascinated by them and for them to

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bring a full character. So, not just

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what's on the page, but a full

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character. The big biggest lesson to

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take away from casting is that if you're

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fascinated, there's a reason. And you

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don't always have to know what that

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reason is. You can have ideas about what

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that reason might be. You can have hints

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about what that reason might be. But the

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real fascination will reveal itself

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through the process. If it's interesting

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and it moves you, there's a reason. And

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chances are, if it moves you, it will

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also move someone else and it will move

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the audience. It's the only thing that

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you can trust.

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Well, I started directing uh when we did

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have videotapes. Uh but I wasn't used to

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using them and I didn't use them a lot.

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I used them for convenience. Maybe you

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would tape somebody just so that I could

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see what they look like and then I

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always uh would bring them in for a

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reading. Uh very often I would read with

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them as the other actor uh or I would

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have a a casting assistant who would

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read with them. Um, the most important

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part of that that one-on-one session is

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uh to really be in the room. For me, is

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to be in the room and to give them notes

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and to see if they can take notes. Uh,

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any of you budding

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actors uh who are coming into a room in

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a casting session, it's a nerve-wracking

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proposition. You're walking in, you

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don't know these people, you're sitting

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in a chair, you don't know the lines

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necessarily of our heart. Although I

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would I would ask you to know them

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pretty well because it does make quite a

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bit of difference. Uh and you're

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standing there with your white pages,

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you know, what's the most important

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thing that a director is looking for

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when they're looking to cast somebody.

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Um obviously they want to bring what you

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they want to see what you bring

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naturally to the table for your

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character, but they also want to see if

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you can change and how you can change.

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Uh the big mistake I think that actors

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very often make is is they they've made

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a decision in terms of their character.

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They bring it to the table. The director

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gives them a small note and they change

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everything so that it's just the note

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that the director gave. Very often what

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the director is looking for is for you

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to add. Like you might add some salt or

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some curry or some paprika. They're not

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asking you to erase everything you

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already came to the table with, but

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they're asking you to add things. And

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maybe they might ask you to add more

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than one thing. Um, that's one of the

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things that I look for with actors is

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can can they add to their performance

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and how many things can I add to them?

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Will they be flustered? Will they are

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they able to adjust? Um, are they able

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to do things delicately? I for me the

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most interesting performances are the

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ones where there are many layers and

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where those layers are quite delicately

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drawn. Very often directors

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uh have a hard time understanding uh how

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vulnerable these actors are. They're

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walking in, you know, showing you the

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insides of their body in some ways. And

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um I tend to really try to be as

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compassionate as possible and as

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positive as possible.

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in the beaver, the role of Norah, who's

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played by Jennifer Lawrence. Um, the

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original script, uh, she was the most

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wonderful creature that had ever graced

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the planet. So, she was beautiful, she

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was a cheerleader, she was

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validictorian, she was brilliant, she

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was self-nowledgeable, she had lived

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through tragedy and was able to confess

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and understand psychologically her

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entire motivations and understand what

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had happened. Um, that's a big tall

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order for an for a for an actress to try

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to play. And we brought in hundreds of

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actresses, uh, all of them wonderful.

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Every one of them was wonderful. And

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there was something bugging me. And I

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couldn't I just couldn't find an actress

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that was right for the role. Uh, over

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and over again, tape upon tape. Finally,

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uh, we came upon a tape of a young

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actress named Jennifer Lawrence, um,

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that she had sent in, that her manager

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had made, that she with her manager had

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made and sent in, and there was

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something so fascinating about her and

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intriguing about her. Um, Amy Kaufman

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said, "I don't know, I just get an

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amazing feeling." She brought her back

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in uh to New York to do a session um a

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video session, and then I went to go see

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the Deborah Granic movie, Winter's Bone.

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Uh, I was allowed to come in the cutting

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room and see a couple of scenes that

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were being put together and it was just

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such a treat. Um, an amazing movie and

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this actress that was absolutely still

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and fascinating and strong but filled

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with what at least this is what I

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projected was filled with this tragedy.

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uh she was she had a body that had lived

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through tragedy and you could see that

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in her face that she had overcome

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tragedy and yet was unconscious about

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you know how she had done it. Um, that

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kind of strength of character mixed with

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an unconsciousness about her psychology

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was something that really fascin

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fascinated me about Jennifer Lawrence.

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And I realized seeing her in that movie,

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the little bits and pieces that I saw

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and seeing her performance that the

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problem was in the script that no Nora

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could ever be beautiful, a cheerleader,

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intelligent, validictorian,

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self-nowledgeable, having had tragedy,

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having overcome it and understood how to

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get through it, a full confession that

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these were too many things for this

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character to have all at once and that I

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needed to take some of those away. And

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what I took away was the consciousness.

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I wanted Nora to be somebody who had

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just acted. She was this person who was

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very strong intellectually, wonderful

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student, had had everything and yet

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there's a whole part of her life that is

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unknown to her. And that was really the

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strength that Jennifer Lawrence brought

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to that reading. It was something that

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she showed me that I was fascinated by.

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And it made me go back to the script and

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work with Kyle Kllin to change the

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script in order to accommodate that

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actress and to accommodate the strengths

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and the rare kind of quality and

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treasure that Jennifer Lawrence brought

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to the character. When I first saw

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Jennifer Lawrence approach the scene, I

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think the thing that struck me was that

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instead of the character

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going off on a tangent of confession,

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she was begrudgingly confessing. It was

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um sort of throwaway, kind of beside the

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point. But what I could feel was that

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the pain of what it brought up in her,

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that that pain still existed and that

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she was trying to mask it. she was

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trying to keep it at bay and she wasn't

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going to indulge in it, but that it was

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something that still lived inside of

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her. Um, if that is the special skill of

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Jennifer Lawrence, I don't know what

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else is. Um, this internal internalized

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pain that lives on her face and yet

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she's strong enough and fierce enough to

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be able to overcome it.

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Um, I think the the the line that got me

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the most was when she says

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she she says something like, "I, you

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know, I was trying to be all of these

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things and it was stupid." Um, that

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there's this

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lack of self-love, that there's this

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disgust with herself, that she used to

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be somebody who was stupid and dumb and

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who she's she's disappointed by. I'm I'm

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always struck by that. It's something

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that really moves me when I see

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characters on screen admit defeat, admit

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disappointment in themselves. Um, and I

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think that that was the essence of of

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what Jennifer Lawrence got to just in

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those few lines. Um, was that she was

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unconscious of her motivations, but she

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knew that she was disappointed by who

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she was and by how she had lived the

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experience. Um there's nothing worse on

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screen than people saying this is how I

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feel. You want to you want to see you

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want to show uh not hear somebody talk

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about it. So show don't tell. Um and in

315
00:12:53,519 --> 00:12:55,760
this case uh the revisions that we made

316
00:12:55,760 --> 00:12:58,000
to the script were mostly about cutting

317
00:12:58,000 --> 00:13:00,639
out confessions. These kind of conscious

318
00:13:00,639 --> 00:13:02,639
confessions of her saying this is how I

319
00:13:02,639 --> 00:13:04,079
felt then and then this happened to me

320
00:13:04,079 --> 00:13:05,360
and then that happened to me and then I

321
00:13:05,360 --> 00:13:08,720
felt this and now I understand. Nora

322
00:13:08,720 --> 00:13:10,160
doesn't understand who she is

323
00:13:10,160 --> 00:13:12,320
psychologically. She understands herself

324
00:13:12,320 --> 00:13:13,680
intellectually, but she doesn't

325
00:13:13,680 --> 00:13:15,920
understand herself psychologically. And

326
00:13:15,920 --> 00:13:18,560
that's why she needs Porter to write her

327
00:13:18,560 --> 00:13:21,360
validictory speech about who she is

328
00:13:21,360 --> 00:13:25,800
because she's not willing to face it.

329
00:13:31,360 --> 00:13:33,279
Sometimes it's a tough call because

330
00:13:33,279 --> 00:13:36,399
you'll have wonderful actors. um each

331
00:13:36,399 --> 00:13:37,680
one of them brings something different

332
00:13:37,680 --> 00:13:40,959
to the table and uh the decision-m is

333
00:13:40,959 --> 00:13:43,440
agonizing. It's it's really hard for me.

334
00:13:43,440 --> 00:13:46,320
Um and many actors out there who may

335
00:13:46,320 --> 00:13:48,079
have auditioned for me have may have

336
00:13:48,079 --> 00:13:50,000
received a note where I talk about how

337
00:13:50,000 --> 00:13:52,639
much their performance moved me and how

338
00:13:52,639 --> 00:13:54,639
arbitrary these decisions are about why

339
00:13:54,639 --> 00:13:56,480
we choose one actor over another. And

340
00:13:56,480 --> 00:13:57,920
having been an actor, I have a lot of

341
00:13:57,920 --> 00:13:59,680
compassion about that. Every once in a

342
00:13:59,680 --> 00:14:01,839
while, you do have this tough call and

343
00:14:01,839 --> 00:14:04,000
um you're faced with a decision. you've

344
00:14:04,000 --> 00:14:05,519
talked it through with your producers,

345
00:14:05,519 --> 00:14:06,639
you've talked it through with other

346
00:14:06,639 --> 00:14:09,199
people that you respect. Um, it usually

347
00:14:09,199 --> 00:14:10,959
comes down to a discussion that I have

348
00:14:10,959 --> 00:14:12,639
with the casting director. I really

349
00:14:12,639 --> 00:14:14,480
respect the casting director and that

350
00:14:14,480 --> 00:14:17,680
process. And, um,

351
00:14:17,680 --> 00:14:21,040
the dialogue that we have, um, is

352
00:14:21,040 --> 00:14:24,160
usually me

353
00:14:24,160 --> 00:14:28,320
talking through all of my concerns.

354
00:14:28,320 --> 00:14:30,079
Very often people will make decisions

355
00:14:30,079 --> 00:14:32,399
through fear. Um, I think that's

356
00:14:32,399 --> 00:14:35,279
natural. I think that's a it's a human

357
00:14:35,279 --> 00:14:37,839
condition that we try to avoid things

358
00:14:37,839 --> 00:14:40,480
that scare us. We we might try to steer

359
00:14:40,480 --> 00:14:42,399
away from things that are bold. We might

360
00:14:42,399 --> 00:14:44,880
try to not do something that exposes us

361
00:14:44,880 --> 00:14:48,000
too much personally. And we have to look

362
00:14:48,000 --> 00:14:49,760
at that objectively. I think you have to

363
00:14:49,760 --> 00:14:51,839
stand outside of yourself objectively

364
00:14:51,839 --> 00:14:54,000
and make sure that you're not choosing

365
00:14:54,000 --> 00:14:55,920
one actor over the other because you're

366
00:14:55,920 --> 00:14:58,000
afraid of something. You know, I'm

367
00:14:58,000 --> 00:15:00,240
afraid

368
00:15:00,240 --> 00:15:03,120
this actor is too pretty. he's a

369
00:15:03,120 --> 00:15:04,959
fantastic actor, but maybe he's too

370
00:15:04,959 --> 00:15:11,760
pretty or um I am afraid that um he this

371
00:15:11,760 --> 00:15:16,720
this woman is um scary that she's she's

372
00:15:16,720 --> 00:15:18,399
too strong or too bold and maybe that

373
00:15:18,399 --> 00:15:21,040
will overwhelm that maybe that will

374
00:15:21,040 --> 00:15:23,920
overwhelm the the the dynamic between

375
00:15:23,920 --> 00:15:26,240
the two characters. I think you have to

376
00:15:26,240 --> 00:15:28,639
you have to look at where your personal

377
00:15:28,639 --> 00:15:33,040
issues are coming into play. Uh instinct

378
00:15:33,040 --> 00:15:35,680
is wonderful, but it's also important to

379
00:15:35,680 --> 00:15:38,800
be able to intellectually

380
00:15:38,800 --> 00:15:41,360
talk through your instincts. Um once

381
00:15:41,360 --> 00:15:43,279
again that's that balance between

382
00:15:43,279 --> 00:15:44,959
control and freedom between the

383
00:15:44,959 --> 00:15:46,800
choreographer and the dancer between the

384
00:15:46,800 --> 00:15:49,040
director and the actor in you is you

385
00:15:49,040 --> 00:15:52,240
have to be able to understand um what

386
00:15:52,240 --> 00:15:55,279
part of you is is controlling the

387
00:15:55,279 --> 00:15:56,639
experience and controlling where the

388
00:15:56,639 --> 00:15:58,240
actor is going and which part of you is

389
00:15:58,240 --> 00:15:59,600
responding to that freedom and that

390
00:15:59,600 --> 00:16:01,040
spontaneity that the actor's bringing to

391
00:16:01,040 --> 00:16:04,199
the table.

392
00:16:08,720 --> 00:16:10,160
I've had many disagreements with

393
00:16:10,160 --> 00:16:12,320
producers over casting choices. Um,

394
00:16:12,320 --> 00:16:13,839
usually you're pretty much on the same

395
00:16:13,839 --> 00:16:15,440
page because you you you're supposed to

396
00:16:15,440 --> 00:16:17,600
be making the same movie. So hopefully

397
00:16:17,600 --> 00:16:20,240
you're communicative about the train and

398
00:16:20,240 --> 00:16:22,079
where the train's going and where the

399
00:16:22,079 --> 00:16:23,360
train's going to leave the station at

400
00:16:23,360 --> 00:16:25,040
what time and where it's going to end.

401
00:16:25,040 --> 00:16:26,639
Uh, but occasionally there are some

402
00:16:26,639 --> 00:16:28,639
disagreements about how to get there.

403
00:16:28,639 --> 00:16:31,680
Um, casting sometimes you'll have big

404
00:16:31,680 --> 00:16:33,440
disagreements. Uh very often with the

405
00:16:33,440 --> 00:16:35,440
studio it's one of the biggest decu

406
00:16:35,440 --> 00:16:37,120
decisions that a studio or a finance

407
00:16:37,120 --> 00:16:39,199
year will make is who is the actor going

408
00:16:39,199 --> 00:16:41,360
to be in the movie. Are they somebody

409
00:16:41,360 --> 00:16:43,680
that we can get financing for? Is it

410
00:16:43,680 --> 00:16:45,199
somebody that people know? Is it

411
00:16:45,199 --> 00:16:46,880
somebody that we find compelling? Is it

412
00:16:46,880 --> 00:16:48,639
somebody that has a lot of hits on

413
00:16:48,639 --> 00:16:50,800
YouTube these days? There are those

414
00:16:50,800 --> 00:16:53,600
considerations and um you may be getting

415
00:16:53,600 --> 00:16:56,160
a lot of pressure to hire somebody uh to

416
00:16:56,160 --> 00:16:58,480
cast somebody who you may not feel is

417
00:16:58,480 --> 00:17:00,800
right for the role.

418
00:17:00,800 --> 00:17:04,400
uh hiring the lead actor and the the and

419
00:17:04,400 --> 00:17:06,000
the supporting characters is probably

420
00:17:06,000 --> 00:17:08,079
the most important decision that you

421
00:17:08,079 --> 00:17:11,039
make on a film. And if you're somebody

422
00:17:11,039 --> 00:17:12,640
that cares about acting and if you're an

423
00:17:12,640 --> 00:17:14,559
actor director and you it is something

424
00:17:14,559 --> 00:17:17,839
that you have a real feeling for, uh I

425
00:17:17,839 --> 00:17:19,679
would say fight keep fighting for the

426
00:17:19,679 --> 00:17:22,640
one that you believe in.

1
00:00:06,080 --> 00:00:07,520
I think, you know, the biggest problem

2
00:00:07,520 --> 00:00:10,160
that that directors uh have with actors

3
00:00:10,160 --> 00:00:11,599
is that they just don't understand what

4
00:00:11,599 --> 00:00:14,719
acting is. And so they're intimidated by

5
00:00:14,719 --> 00:00:17,440
it. And um they try all these other ways

6
00:00:17,440 --> 00:00:21,199
to either prove that they are have power

7
00:00:21,199 --> 00:00:22,560
over you or that they know what they're

8
00:00:22,560 --> 00:00:23,760
doing when the truth is is they're just

9
00:00:23,760 --> 00:00:25,199
kind of intimidated by the process of

10
00:00:25,199 --> 00:00:26,720
what acting is. There's really three

11
00:00:26,720 --> 00:00:29,920
parts to acting. There's um there's

12
00:00:29,920 --> 00:00:32,800
three layers. There's the part that the

13
00:00:32,800 --> 00:00:34,640
character is showing you, the part that

14
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they're communicating. There is the part

15
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they're hiding, and there's the part

16
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that's completely unconscious that they

17
00:00:41,120 --> 00:00:42,960
don't really realize is a part of their

18
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story. Um we're always working juggling

19
00:00:46,559 --> 00:00:48,640
those three different layers of meaning.

20
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Um in some characters like Nell, you

21
00:00:51,680 --> 00:00:54,480
know, there those those layers are less

22
00:00:54,480 --> 00:00:58,320
severe. um she's not hiding as much. She

23
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doesn't know that she's supposed to

24
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hide. Uh the character like Clarice

25
00:01:01,280 --> 00:01:04,159
Starling in Silence of the Lambs, uh you

26
00:01:04,159 --> 00:01:06,560
have somebody who's very aware that her

27
00:01:06,560 --> 00:01:09,600
words have effect and she is presenting

28
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an image for Dr. Lectar um to to

29
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basically to manipulate him to get him

30
00:01:14,799 --> 00:01:17,119
to do what the FBI wants her to do. At

31
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the same time, she's begrudgingly

32
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revealing sides of herself. And at the

33
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same time, she's naive enough and young

34
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enough in some ways to not really 100%

35
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understand why she is on this mission.

36
00:01:31,040 --> 00:01:32,720
Um, that there is a whole part of her

37
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story that's not understood even to her.

38
00:01:40,960 --> 00:01:42,880
Uh, I don't like preciousness. I don't

39
00:01:42,880 --> 00:01:44,720
like to be approached in a precious way.

40
00:01:44,720 --> 00:01:47,200
So, I prefer somebody to be incredibly

41
00:01:47,200 --> 00:01:48,960
blunt and honest and tell me exactly

42
00:01:48,960 --> 00:01:50,720
what they mean. If they'd like me to be

43
00:01:50,720 --> 00:01:52,320
faster, I like to hear faster. If they'd

44
00:01:52,320 --> 00:01:53,680
like me to be slower, I like to hear

45
00:01:53,680 --> 00:01:57,759
slower. I tend to feel manipulated if

46
00:01:57,759 --> 00:02:00,560
somebody I can see somebody or notice

47
00:02:00,560 --> 00:02:03,600
that somebody's either trying to change

48
00:02:03,600 --> 00:02:05,200
the way they would speak in order to get

49
00:02:05,200 --> 00:02:08,399
a result from me. Uh actors tend to not

50
00:02:08,399 --> 00:02:10,959
like to be forced into result. They like

51
00:02:10,959 --> 00:02:14,959
to find the way their themselves. Um I

52
00:02:14,959 --> 00:02:16,560
personally like directors to be

53
00:02:16,560 --> 00:02:19,599
prepared. Um, I love them to be open to

54
00:02:19,599 --> 00:02:21,760
chance and open to spontaneity, but I

55
00:02:21,760 --> 00:02:23,520
want them to have a plan A. Uh, there

56
00:02:23,520 --> 00:02:24,879
are too many things that can go wrong

57
00:02:24,879 --> 00:02:26,400
and there's too many people's times that

58
00:02:26,400 --> 00:02:28,239
can be wasted. An actor's energy is

59
00:02:28,239 --> 00:02:29,599
important. The crew's energy is

60
00:02:29,599 --> 00:02:31,599
important. And so, if somehow you're

61
00:02:31,599 --> 00:02:34,160
doing 25 takes for no reason except that

62
00:02:34,160 --> 00:02:37,440
the director is unprepared, um, then

63
00:02:37,440 --> 00:02:39,920
there's a you lose respect for the

64
00:02:39,920 --> 00:02:43,680
director. I don't like uh a direction

65
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that's resultoriented. Uh where the

66
00:02:46,000 --> 00:02:48,080
director tells you where he wants to get

67
00:02:48,080 --> 00:02:50,000
emotionally. You know, I'd like you to

68
00:02:50,000 --> 00:02:52,000
cry at the end or I'd like you to laugh

69
00:02:52,000 --> 00:02:55,360
on this line or I'd like the audience to

70
00:02:55,360 --> 00:02:57,840
feel such and such. I want the audience

71
00:02:57,840 --> 00:03:00,480
to be sad or the audience to be happy.

72
00:03:00,480 --> 00:03:02,959
If you start making decisions, um if an

73
00:03:02,959 --> 00:03:04,560
actor starts making a decision about

74
00:03:04,560 --> 00:03:06,640
result, uh they'll immediately be

75
00:03:06,640 --> 00:03:08,319
blocked and never be able to get there.

76
00:03:08,319 --> 00:03:11,920
So um that's an important one. Um mostly

77
00:03:11,920 --> 00:03:14,159
I like a director to include me in the

78
00:03:14,159 --> 00:03:16,400
process. I've been a actor for a really

79
00:03:16,400 --> 00:03:19,680
long time. I love uh I love the

80
00:03:19,680 --> 00:03:21,599
technique that goes into film making and

81
00:03:21,599 --> 00:03:22,959
I understand the language of film

82
00:03:22,959 --> 00:03:25,920
making. So if a director is creating a

83
00:03:25,920 --> 00:03:28,319
shot creating a shot list where you have

84
00:03:28,319 --> 00:03:29,840
a number of different shots together, I

85
00:03:29,840 --> 00:03:31,280
like to know why. I like to know what

86
00:03:31,280 --> 00:03:32,720
the end result is so that I can help

87
00:03:32,720 --> 00:03:34,799
serve them. I don't really want a

88
00:03:34,799 --> 00:03:38,400
director of saying things like um let's

89
00:03:38,400 --> 00:03:42,080
feel this together or um um you know

90
00:03:42,080 --> 00:03:43,920
hold my hand and you know let's have

91
00:03:43,920 --> 00:03:45,440
this experience of what you're going

92
00:03:45,440 --> 00:03:47,120
through you know remember that time when

93
00:03:47,120 --> 00:03:49,360
you did this that to me feels like

94
00:03:49,360 --> 00:03:53,040
manipulation or it feels like an

95
00:03:53,040 --> 00:03:55,040
invasion it it feels like an invasion of

96
00:03:55,040 --> 00:03:58,239
space I would rather have a more

97
00:03:58,239 --> 00:04:00,720
practical conversation with an with a

98
00:04:00,720 --> 00:04:03,760
director and to allow myself to have the

99
00:04:03,760 --> 00:04:07,560
experience of the character

100
00:04:11,120 --> 00:04:13,680
and we're going to talk about Nell uh a

101
00:04:13,680 --> 00:04:16,239
strange movie uh a difficult

102
00:04:16,239 --> 00:04:17,759
performance.

103
00:04:17,759 --> 00:04:20,479
I was uh we created this character. It

104
00:04:20,479 --> 00:04:23,360
was based on a play called Idlossia. But

105
00:04:23,360 --> 00:04:25,360
we created a character who was thought

106
00:04:25,360 --> 00:04:27,360
of as a wild child, somebody that had

107
00:04:27,360 --> 00:04:30,479
been raised in the woods that had only

108
00:04:30,479 --> 00:04:32,000
been in contact with one person her

109
00:04:32,000 --> 00:04:34,000
whole life. She never went outside of

110
00:04:34,000 --> 00:04:36,880
this room or so they thought. Um, no

111
00:04:36,880 --> 00:04:38,960
human contact whatsoever. And the

112
00:04:38,960 --> 00:04:40,800
question in the film is, you know, who

113
00:04:40,800 --> 00:04:43,840
is this almost primitive ideal person

114
00:04:43,840 --> 00:04:46,000
who is raised without interference uh

115
00:04:46,000 --> 00:04:48,800
from the real world. But little do those

116
00:04:48,800 --> 00:04:50,479
people who are asking that question know

117
00:04:50,479 --> 00:04:52,639
that she is the least lonely person and

118
00:04:52,639 --> 00:04:54,400
the least alone person that they know.

119
00:04:54,400 --> 00:04:55,600
That's something that they'll have to

120
00:04:55,600 --> 00:04:58,080
discover over time through her language,

121
00:04:58,080 --> 00:04:59,680
through her gestures. By understanding

122
00:04:59,680 --> 00:05:01,120
her language, by understanding her

123
00:05:01,120 --> 00:05:02,800
gestures, they'll understand her past

124
00:05:02,800 --> 00:05:04,960
and her history. Okay, so here's the

125
00:05:04,960 --> 00:05:07,440
problem. There really are no wild child.

126
00:05:07,440 --> 00:05:09,039
There's no wild child. There's no

127
00:05:09,039 --> 00:05:10,560
reference. There's no books that I can

128
00:05:10,560 --> 00:05:12,639
read or histories that I can uh

129
00:05:12,639 --> 00:05:14,960
videotapes that I can look at. Every

130
00:05:14,960 --> 00:05:16,960
path that I went down seemed to be the

131
00:05:16,960 --> 00:05:19,440
wrong path. Um, so I had to kind of

132
00:05:19,440 --> 00:05:21,520
create nail from scratch. And the only

133
00:05:21,520 --> 00:05:23,840
way to do that was to look into the text

134
00:05:23,840 --> 00:05:26,720
that the text had all of the clues for

135
00:05:26,720 --> 00:05:28,880
her voice. She's somebody that was

136
00:05:28,880 --> 00:05:30,400
raised by a mother who was speech

137
00:05:30,400 --> 00:05:32,720
impaired. She had had a stroke and uh

138
00:05:32,720 --> 00:05:35,120
she had a stroke uh from a very violent

139
00:05:35,120 --> 00:05:37,600
thing that had happened to her. So Nell

140
00:05:37,600 --> 00:05:39,199
learned her speech from somebody that

141
00:05:39,199 --> 00:05:41,840
was a stroke victim. So that influenced

142
00:05:41,840 --> 00:05:44,720
how we created the the language. The

143
00:05:44,720 --> 00:05:46,720
language was also formed which I knew

144
00:05:46,720 --> 00:05:48,479
from the script was also formed by the

145
00:05:48,479 --> 00:05:50,160
relationship with her twin sister. her

146
00:05:50,160 --> 00:05:52,080
twin sister, somebody who had died

147
00:05:52,080 --> 00:05:54,479
earlier. Uh they had developed a speech

148
00:05:54,479 --> 00:05:56,240
together. It's called idoglossia. It's a

149
00:05:56,240 --> 00:05:57,840
phenomenon that happens to twins where

150
00:05:57,840 --> 00:05:59,759
they develop a language that has nothing

151
00:05:59,759 --> 00:06:02,320
to do with our English language and they

152
00:06:02,320 --> 00:06:04,319
develop this language and pull pieces of

153
00:06:04,319 --> 00:06:06,319
words together that they that only they

154
00:06:06,319 --> 00:06:09,039
know, a secret language. Uh so all of

155
00:06:09,039 --> 00:06:11,680
these clues to the character starts

156
00:06:11,680 --> 00:06:13,520
building the clues to how you build the

157
00:06:13,520 --> 00:06:15,520
character yourself.

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So for uh for Nell's speech, if I say

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something like um uh she might say u

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I know this seems silly. When my sons

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see this, they'll be laughing. What

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you'll notice is that one side of my

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face doesn't work as well. She's learned

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her speech from somebody that has a

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stroke. Um also the musicality. There's

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a lot of that southern accent. people

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that have had strokes tend to emphasize

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the musicality because that part of

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their brain is working well. Um uh the

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language that she uses that her mother

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used was biblical was very biblical

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because she couldn't read anymore and

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that was the only verse that she knew.

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Um so when we start pulling the language

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apart, if we start learning the language

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through the course of the movie, what we

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learn is that go

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is actually after go guardian angel

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comes. Um but it's only through knowing

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now that you get privy to uh what she's

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actually saying. You you have to know

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her in order to learn her. The same

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thing with the body movements and the

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physicality. big quandry. Uh, in the

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script it says Nell does crazy gesture.

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Nell goes off on her own and rocks. And

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I said to myself, what does that mean?

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What am I gonna do? Um, I went to a

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movement class. That didn't work. I

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talked to people about um uh you know

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would she would she what what would be

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this phenomenon? Nobody had any answers

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for me. So uh I worked with somebody who

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uh who was a dancer and they said the

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most important thing is is no dance

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moves. So I went home I I uh had spoken

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to a movement coach and we came up with

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an idea of of a gesture

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that um that was two people had

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participated in at one point only one

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person's not there anymore. So, let's

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just say I'll move over here. So, let's

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just say uh Nell and her sister are

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doing a are are almost like a seessaw.

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One person goes out, another person

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comes back. If you deconstruct that and

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move that around, that becomes a very

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elaborate, strange looking gesture of

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moving out and moving back, moving out,

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moving back. The strange thing was is

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that every time I did it, I just found

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it really moving. It was something about

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the breathing and about breathing out

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and then breathing back again that there

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was this gesture was a piece of memory.

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It was bringing back the memory and

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bringing that other person back into the

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room. So we wo that into the film. Uh

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there's a scene where she goes to the

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mirror and she's trying to explain

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trying to invoke her sister and um she

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goes to the mirror and she moves with

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her arms in one direction the other

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pulls her back the way a child might do

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and with that comes language and the

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language that she says is May and Tay.

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May is the name of her sister and Tay is

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is sort of a biblical thou May and Tay.

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And uh when Liam's character uh enters

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into the room and hears this, he thinks

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that she's saying his name. And the

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great doctor has this idea that somehow

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this child or this woman is so

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interested in him that she's accepting

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him and she's saying his name. But in

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fact, what she's doing is shutting him

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out and escaping into this memory that

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is safe of May.

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Hey,

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my kids will be laughing, but there's

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something genuinely moving about the

242
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breath and bringing somebody in,

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invoking a character, invoking a ghost

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so that you don't have to be alone and

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you can escape this guy. Um the

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beautiful thing about that movie for me

247
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was that um

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uh it was that the it's all about

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somebody who's completely 100%

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misunderstood

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and um through coming to understand her,

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you get to understand her real history

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and um the things that make her up is

254
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this longing to be connected and all of

255
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these people thought that she was

256
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longing to be left alone. I find the act

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of of acting can sometimes be very

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self-conscious. Look at me. I'm sitting

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on the floor saying crazy words with

260
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crazy gestures. Um, the only way for me

261
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to not feel self-conscious is to

262
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normalize it. Is to drink coffee and

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hang out and um show everybody that I'm

264
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just a regular person. And by having

265
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that relationship with the crew, I think

266
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where they know that I'm just one of

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them. um were able to become a family

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and feel supported so that I can make a

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fool of myself in front of the camera

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and know that um nobody's going to make

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fun of me. I have to wait for my kids to

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make fun of me when I get home.

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Uh the director of Nell is Michael

274
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Aptad, the wonderful Michael Aptad. The

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one thing that he uh that he understands

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more than anybody else is documentary.

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did the very famous Seven Up

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documentaries. Um, Michael knows how to

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stay away when you have to stay away and

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let the actor do what they need to do,

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but he also knows how to participate in

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support. And that's something that I

283
00:12:03,360 --> 00:12:06,880
really learned from him. Um, he let me

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really prep the character. Um, we had

285
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discussions, but he's somebody who who,

286
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once again, he doesn't invade thea

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space. He's a natural documentarian. So,

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he really led me to discover the

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character on my own. The

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characterization of Nell um is a really

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good example of um having to have a

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clear structure in order to support

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total freedom. The script was written in

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such a way so that there were clear

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reasons and realities to her speech, to

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her language, to her musicality, to the

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way that she moved. Um everything had a

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reason but you you know we had to

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provide we had to make that make sense

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of that and as an actor uh so much of my

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work really was in preparation and in

302
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this case I found this thing that when I

303
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moved outwards and breathe and then

304
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tried to pull somebody back as much as I

305
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possibly could somebody who was the

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closest person to me that I thought

307
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would never leave me but then did leave.

308
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So, this idea of longing,

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longing, and trying to invoke this

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ghost, and she wasn't coming, but I'm

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going to try and bring her back again

312
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with the with the speech and with the

313
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gestures. Every time I did that, I was

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centered in the character, and I knew

315
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what I was doing, and I knew where I

316
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was, and I was moved. Um,

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you can find that uh in any character. I

318
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think you just have to you have to find

319
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the resonance. You have to find the

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personal resonance, the thing that

321
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touches you, that big idea, that big

322
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emotional idea that touches you. And

323
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that's what gets you on set every day.

324
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That's what allows you to, you know,

325
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cry in the graveyard with the where your

326
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grandma is supposed to be when in fact

327
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it's a crew of 125 people around you. If

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you can focus on the thing that moves

329
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you, um, that has personal resonance,

330
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you'll always find your way.

331
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I think the best way for a filmmaker to

332
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create a supportive environment is um to

333
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have the actors feel like they're in it

334
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with them. That um if the actor is going

335
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to jump off a cliff, the director's

336
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going to jump off a cliff, too. If the

337
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actor is going to have to stand naked in

338
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a shower, you know, the director's going

339
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to take his shirt off, too. just that um

340
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as an analogy I think um I think the

341
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actor needs to feel like they're not

342
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alone and they need to feel like there's

343
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a guiding force who loves them. Um you

344
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know I think that's uh why the

345
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relationship with the uh director always

346
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feels like a parent child relationship.

347
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Um and I know that throughout the years

348
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the the kind of respect that I have for

349
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directors uh for the directors that I've

350
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worked with has always felt a little bit

351
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like they were parent figures. In my

352
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case, most of those guys were men. I've

353
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only made one movie with a woman

354
00:15:01,120 --> 00:15:03,279
director, sadly. I know that will change

355
00:15:03,279 --> 00:15:07,199
soon, but um I didn't have a dad. So, my

356
00:15:07,199 --> 00:15:09,600
relationships with directors was a lot

357
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about wanting them to respect me,

358
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wanting them to care about me, wanting

359
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them wanting to feel supported by them.

360
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And this was the one place that I got to

361
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have that. Um, uh, it's it's why I feel

362
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like, um, I am in service of the

363
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director's vision the way a child is in

364
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service of a parent's vision.

365
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I guess,

366
00:15:40,639 --> 00:15:42,880
you know, I I I I say often that I

367
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wasn't born to be an actor. Um, I just

368
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it was a family business really. It was

369
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something that I fell into at 3 years

370
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old. And I think that had I been given a

371
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choice, maybe I would have been a lawyer

372
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or a doctor or a professor. Um, but I

373
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wasn't. I was an actor. And um, that

374
00:15:59,199 --> 00:16:01,600
meant I got my 10,000 hours by the time

375
00:16:01,600 --> 00:16:05,120
that I was 12 years old. And I was able

376
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to have that psychological experience of

377
00:16:08,320 --> 00:16:10,959
of openness and creativity, something

378
00:16:10,959 --> 00:16:13,040
that I maybe wouldn't have come to me

379
00:16:13,040 --> 00:16:14,639
naturally.

380
00:16:14,639 --> 00:16:17,279
That was a gift. Um

381
00:16:17,279 --> 00:16:19,360
uh but the the problem is is that I

382
00:16:19,360 --> 00:16:21,839
don't have a lot of faith. I didn't have

383
00:16:21,839 --> 00:16:24,639
a lot of faith in anything but my mind.

384
00:16:24,639 --> 00:16:26,720
And uh with Nell, what I understood is

385
00:16:26,720 --> 00:16:29,040
that I was more than just my head. That

386
00:16:29,040 --> 00:16:32,399
um I was a a more full uh a more

387
00:16:32,399 --> 00:16:35,279
emotional being. Um

388
00:16:35,279 --> 00:16:37,040
uh for me that that doesn't come

389
00:16:37,040 --> 00:16:39,519
naturally. It's not my personality. Um

390
00:16:39,519 --> 00:16:42,639
I'm a thinker. And to be able to be

391
00:16:42,639 --> 00:16:46,240
given the gift uh to play somebody who's

392
00:16:46,240 --> 00:16:49,600
who's who's a feeler uh was, you know,

393
00:16:49,600 --> 00:16:52,079
was life-changing. And in this case,

394
00:16:52,079 --> 00:16:55,360
doing nail uh for me was facing probably

395
00:16:55,360 --> 00:16:58,639
my greatest fear that um my fear was

396
00:16:58,639 --> 00:17:00,240
that maybe I really wasn't an actor.

397
00:17:00,240 --> 00:17:03,199
Maybe I was just um

398
00:17:03,199 --> 00:17:06,079
had been a child actor because uh they

399
00:17:06,079 --> 00:17:08,799
had been chosen for me. Um, it's a good

400
00:17:08,799 --> 00:17:11,439
lesson, I think, for all of you to look

401
00:17:11,439 --> 00:17:13,360
at the things that you're scared of, uh,

402
00:17:13,360 --> 00:17:16,640
face them head on, possibly fail. Um,

403
00:17:16,640 --> 00:17:19,199
but that experience is really worth it.

404
00:17:19,199 --> 00:17:22,079
I think it will help you to evolve as an

405
00:17:22,079 --> 00:17:24,640
artist um and help you move to the next

406
00:17:24,640 --> 00:17:27,199
step as an

1
00:00:12,960 --> 00:00:15,360
very often the biggest worry that

2
00:00:15,360 --> 00:00:18,640
students and new filmmakers have is how

3
00:00:18,640 --> 00:00:21,680
do I direct actors and what happens if

4
00:00:21,680 --> 00:00:23,760
an actor won't do what I'm asking them

5
00:00:23,760 --> 00:00:26,400
to do. Um it is a fear that keeps people

6
00:00:26,400 --> 00:00:29,039
up at night. Um, and it does happen. And

7
00:00:29,039 --> 00:00:30,800
occasionally you'll have a personality

8
00:00:30,800 --> 00:00:33,440
of an actor who doesn't really want to

9
00:00:33,440 --> 00:00:34,800
do what you were hoping that they would

10
00:00:34,800 --> 00:00:38,399
do. And you sometimes have to be

11
00:00:38,399 --> 00:00:41,040
flexible enough to be able to change

12
00:00:41,040 --> 00:00:42,960
your ideas that you came up with. As I

13
00:00:42,960 --> 00:00:44,559
said, you can't make a film in your

14
00:00:44,559 --> 00:00:46,800
hotel room all by yourself. Uh, it

15
00:00:46,800 --> 00:00:48,320
requires

16
00:00:48,320 --> 00:00:50,800
for you to collaborate. And that also

17
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means that an actor's an actor's process

18
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has to come in has to come into your

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process. I very often talk about this

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analogy that good directing is good

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parenting. A good parent is somebody who

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loves you no matter how much pen you

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have on your face. Um who is there to be

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supportive and to say yes, yes, yes.

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who's a cheerleader of positivity and

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who allows you to jump off a building

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and to do something ridiculous and be

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foolish and you know that they'll still

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be there. They may even agree that it

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was foolish but they can't wait to do it

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again. So somebody who's a part of that

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process, Martin Scorsesei, my

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experience, that was my experience with

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Martin Scorsesi.

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But an actor also wants a good parent

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who says to them, "The train is leaving

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the station at 8:32 and it's arriving at

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the other end at 11:45 so that they have

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constraints that they have a structure

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that they can depend on and that they

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can feel safe inside. They don't want to

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feel like they're wallowing somewhere

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and and and what happens if they drown?

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There will be nobody there to save

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them." Uh so a good parent is both

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things both controlling and freeing. Um

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I like to bring that to the process with

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with actors that may feel scared

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in they may be nervous. They may have

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butterflies and the first thing they do

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is they put their heels down and they

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say I cannot move and I will not move. I

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try to make them feel comfortable that

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I'm going to give them the freedom but

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that they're also going to have my

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structure.

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I worked with a lot of children and

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unlike a lot of people, I love working

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with children and animals because

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they're pure and they're honest. Um,

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when a child does not want to throw that

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bowl of spaghetti anymore, they will not

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throw that bowl of spaghetti one more

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time. When that cat does not want to

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cough up another furball, there will not

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be another furball. and knowing that

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they operate out of total honesty and

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that they can't be bribed by fame or

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money or more food that they they will

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only do something if they feel like it's

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real and that it comes organically to

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them I think is a real help. Uh it means

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that you don't force them into

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situations that are wrong. I I remember

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once trying to force an a child actor to

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put his hands in his pockets and to say

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the lines with his hands in his pockets

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because I had an idea in my head that

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that would be that would feel like

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something that I was looking for. And

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every time he put his hands in his

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pockets, he became completely wooden. It

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just wasn't organic to who he was. And I

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understood that I had to let him let him

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have his body work the way it worked. As

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an actor, very often I have to I have to

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intervene with the other actors. Um, and

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when I'm acting and directing, for

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example, with Fred Tate, the boy who

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played Fred Tate in Little Man Tate, I

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had to coax a performance out of him

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occasionally by acting with him. Um, and

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sometimes that meant loosening him up by

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playing with him. Um, I I I will ask

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actors when I first come to work with

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them, I'll say, "I'm going to play your

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mom and I'm probably going to have to

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touch you a lot. So, here, give me your

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finger." And we do a little bit of that.

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Do a little bit of touching. Sometimes

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we'll start doing a little dancing. I'll

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say, "Do you know how to do this dance

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and I'll do a little couple partner

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dancing with them just so that they get

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used to me being physically bonded to

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them and being physically close to them.

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So sometimes I will work with them that

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way to just allow them to trust me. Um,

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but I don't lie to them and tell them

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that I'm doing something else. I tell

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them that I'm trying to, you know, that

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we're trying to create a situation that

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we feel good together.

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The director can't really intervene

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between action and cut. That really is

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the actor's responsibility. So, the best

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thing that a director can do is to

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communicate in prep, communicate before

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the scene starts, and then make notes

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afterwards. If you've communicated

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yourself well and you're all on the same

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page, then it's a lovely evolution. You

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do a take, that's really nice. Now,

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we're going to add another layer to

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that. That's really nice. We'll add

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another layer to that or think about

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this other question. Um, the one thing

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you don't want a director to do is to

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just invade the space of the actor and

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barrage them with a hundred million

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things to think about. Um, try and be

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specific about what it is that that the

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actor needs. Um, and try to have there

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not be too much time between the takes

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unless for some reason you feel like the

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actor could use a little bit of time

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away from the character. Uh maybe the

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actor's gotten too emotional, for

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example, and you might want to bring

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them back. Maybe you just let a little

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time go by, throw some jokes around,

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just try to lighten it up. Um the most

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important thing is to tell the truth. Um

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there's nothing worse for an actor than

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being lied to by a director. um uh they

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they obviously don't want to hear the

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blunt facts of I didn't like that take

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or something terribly negative. But

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what's important is that you have trust

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and that the actor knows that the

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director is on their side and that the

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director is there just to help them get

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over the finish line to help them get

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through this process. Uh not there to uh

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participate uh having fun, you know,

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making the actor do little tricks like

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the way you would a puppet. People would

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say that sometimes first-time directors

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talk too much. Uh they are very excited

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to be on set and they want to provide a

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lot of information for the actors and um

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sometimes the actors just need

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specificity. Um I like to really I

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really like to keep it short with the

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actors. Um and if the the actor is

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coming up with something that I really

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love, I'm going to say that's wonderful.

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I really wouldn't change a thing. Maybe

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you could just try this little thing. Uh

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or occasionally a way to approach it is

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to say let's try something different. we

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have that now let's try something

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different. Um always with a positive

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spin I think uh just like working with

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animals uh you just get a lot more

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through positivity than you do any kind

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of like negative struggle.

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I like to do as much research on a lead

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actor as I possibly can before I start

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shooting. Um, I will call the other

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directors and ask them how they worked

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with them and I'll ask them very

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bluntly, you know, what is their process

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on the set and um, really ask them how

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best to talk to them. You know, is it

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better to barrage them with notes uh,

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after the take or do I need to do just

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one note at a time or does he like to do

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his takes first or um, is he on time?

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Does he remember his lines? I mean, all

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of this you've already hired the actor.

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It's not like you're going to get rid of

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the actor, but it's very important to

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have as much information as you possibly

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can so that you can get the best

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performance out of them and so that you

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can get the best team work as you

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possibly can out of that actor.

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Depending on the experience of the actor

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and their past, their history, are they

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a theater actor? Are they a television

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actor? Are they comfortable in front of

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the camera? Uh have they done this a

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lot? Do they do they know how to talk in

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technical terms? Um you have to read

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each actor and figure out how much

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information, you know, you might give

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them. It might be an overload to give an

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actor who's really a theater trained

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actor who doesn't really want to know

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about the film making to give them all

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of the the tricks of film making, you

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know, when you're going to be pushing in

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or what you need them to do or what you

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need to accomplish. For an actor like

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that that isn't very comfortable with

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the constraints of film making,

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sometimes you might need to loosen

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things up just so that they don't have

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to hit a mark quite so heavily or that

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they can uh move on on different lines

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as opposed to having a a a specific

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moment where they move. Um, all of this

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is just about reading people. It's

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really just about social dynamics.

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Occasionally, you're working with actors

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that work differently. Uh, let's say,

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uh, in Home for the Holidays, I had a

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Braftoft, you know, uh, and I had Robert

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Downey Jr., two actors that work in

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entirely opposite directions. Robert

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Downey Jr., as you can imagine, is free.

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Um, he doesn't like to say the same

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thing twice. Um he is really interested

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in um strange verbal inflections. Uh he

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um he gets bored very easily. And

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Bankraftoft uh consmate pro has been in

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the business forever. She likes to have

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everything locked down. Every movement,

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every time she lifts her spoon, every

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time she turns her head, it's going to

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match the last time. And she makes those

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decisions ahead of time. So sometimes

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just to mess with the fabulous Miss Anne

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Bankraftoft, um she would ask me a

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question like, you know, when should I

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put the cup down? And I'd say I don't

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know. I did a lot of saying I don't know

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just to try to get her to to not be so

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not feel so confined and um and

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sometimes even to frustrate her so that

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she felt like she was the only person in

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that room, just as Adele does in the

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movie, the only person in that room that

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was keeping everything together. uh with

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Robert um

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uh you know amazing talents of Robert

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Downey Jr. um when you have somebody

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that has those abilities uh those improv

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abilities that kind of mind uh you hope

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that you can find a way to use them

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properly.

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There's um a wonderful scene in Home for

264
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the Holidays where uh he is driving with

265
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his sister and his friend that he came

266
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to introduce to his sister and he they

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dis he he's trying to get his friend to

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tell this story about the time he broke

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his nose and the friend doesn't really

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Dylan McDermott doesn't really want to

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have this doesn't want to tell this

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story. So instead, Robert Downey Jr.

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launches into it for him and it becomes

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the most graphic, disgusting story about

275
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the breaking of a nose that involves

276
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blood and puke and snot and you know

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anything else that you can think of. And

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um the whole thing is pretty much

279
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improvised by Robert Downey Jr. and

280
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every single take is different. Knowing

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that I made sure that I had locked off

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cameras, I made sure that I had

283
00:10:43,120 --> 00:10:44,640
everything that I needed so that I could

284
00:10:44,640 --> 00:10:46,000
would be able to cut these things

285
00:10:46,000 --> 00:10:48,079
together and let him go. The only

286
00:10:48,079 --> 00:10:51,120
constraint that I gave him was that once

287
00:10:51,120 --> 00:10:52,480
he hit the break, and there was a

288
00:10:52,480 --> 00:10:55,600
specific line he had to hit the break on

289
00:10:55,600 --> 00:10:57,760
after that,

290
00:10:57,760 --> 00:10:59,920
something having to do with her uterus

291
00:10:59,920 --> 00:11:01,839
should come out of his mouth. Um, that

292
00:11:01,839 --> 00:11:03,120
was it. Those were the constraints that

293
00:11:03,120 --> 00:11:05,040
we gave Robert Downey Jr. on that scene.

294
00:11:05,040 --> 00:11:07,040
And um, and of course he lived that

295
00:11:07,040 --> 00:11:08,959
beautifully. I think that had had that

296
00:11:08,959 --> 00:11:10,720
been Anne Bankro scene, I might have

297
00:11:10,720 --> 00:11:14,279
used a different method.

298
00:11:18,640 --> 00:11:20,000
I mean, the best way to make an actor

299
00:11:20,000 --> 00:11:21,600
feel supported in the process of going

300
00:11:21,600 --> 00:11:23,920
through take after take after take is to

301
00:11:23,920 --> 00:11:25,600
be positive and for them to feel like

302
00:11:25,600 --> 00:11:28,720
you are in the scene with them. Um, you

303
00:11:28,720 --> 00:11:30,800
know, nobody wants to be abused and

304
00:11:30,800 --> 00:11:32,800
nobody wants to do a bunch of takes for

305
00:11:32,800 --> 00:11:34,800
no reason. You definitely need to tell

306
00:11:34,800 --> 00:11:37,600
people what you're looking for and um

307
00:11:37,600 --> 00:11:39,760
and and present that hopefully with a

308
00:11:39,760 --> 00:11:42,240
kind of enthusiasm. Sometimes you need

309
00:11:42,240 --> 00:11:44,320
to take a break, let somebody have a

310
00:11:44,320 --> 00:11:46,480
smoke and a cup of coffee, and then come

311
00:11:46,480 --> 00:11:48,399
back to it later. Um, when you finally

312
00:11:48,399 --> 00:11:50,800
exhausted everything that they have.

313
00:11:50,800 --> 00:11:52,160
There's another scene in Money Monster

314
00:11:52,160 --> 00:11:54,720
that um was another Jack Oonnell torture

315
00:11:54,720 --> 00:11:56,640
scene. I love Jack Oonnell. Thank thank

316
00:11:56,640 --> 00:11:59,360
god for Jack Oonnell. Um he has a scene

317
00:11:59,360 --> 00:12:01,279
where he has to kind of just lose it

318
00:12:01,279 --> 00:12:03,920
where um he is just so frustrated with

319
00:12:03,920 --> 00:12:05,200
everybody talking about this glitch.

320
00:12:05,200 --> 00:12:07,200
this glitch that he doesn't understand

321
00:12:07,200 --> 00:12:09,120
and he finally explodes and says, you

322
00:12:09,120 --> 00:12:10,880
know, the glitch, the glitch, you know,

323
00:12:10,880 --> 00:12:12,800
what the hell is that? You know, stop

324
00:12:12,800 --> 00:12:14,079
talking about the glitch. Shut up about

325
00:12:14,079 --> 00:12:17,920
the glitch. Um, we knew that we needed

326
00:12:17,920 --> 00:12:19,920
this shot

327
00:12:19,920 --> 00:12:21,760
because it would replay later on in the

328
00:12:21,760 --> 00:12:24,880
movie many times. It would play in um on

329
00:12:24,880 --> 00:12:26,880
the TV screens. Different people would

330
00:12:26,880 --> 00:12:28,959
witness it. And so, the glitch had to be

331
00:12:28,959 --> 00:12:30,560
this physical thing that he did with his

332
00:12:30,560 --> 00:12:32,000
hands that he threw up his hands. We

333
00:12:32,000 --> 00:12:33,519
wanted that because we thought that

334
00:12:33,519 --> 00:12:36,560
maybe uh people would start uh creating

335
00:12:36,560 --> 00:12:38,880
a meme that had to do with the glitch.

336
00:12:38,880 --> 00:12:42,560
So I asked him to to do something that

337
00:12:42,560 --> 00:12:45,920
was nearly impossible, which is,

338
00:12:45,920 --> 00:12:47,680
you know, to hit a bunch of different

339
00:12:47,680 --> 00:12:50,079
notes and then also do a body movement

340
00:12:50,079 --> 00:12:53,360
that wasn't necessarily natural to him.

341
00:12:53,360 --> 00:12:55,360
That's always a hard note to give. Uh

342
00:12:55,360 --> 00:12:57,120
but Jack Oonnell managed to do it. He

343
00:12:57,120 --> 00:12:59,760
managed to do it many, many, many times.

344
00:12:59,760 --> 00:13:02,639
And it took many, many, many takes of

345
00:13:02,639 --> 00:13:04,560
screaming and saying the glitch over and

346
00:13:04,560 --> 00:13:06,160
over and over again until we finally got

347
00:13:06,160 --> 00:13:07,600
one that hit all the technical points

348
00:13:07,600 --> 00:13:09,519
that we were looking for, the emotional

349
00:13:09,519 --> 00:13:11,519
beats that we were looking for, um, the

350
00:13:11,519 --> 00:13:13,200
highs and lows that we were looking for,

351
00:13:13,200 --> 00:13:15,360
and he was able to hit all of the marks.

352
00:13:15,360 --> 00:13:17,920
Um, this is the crazy job that actors do

353
00:13:17,920 --> 00:13:19,760
on movie sets.

354
00:13:19,760 --> 00:13:22,959
A glitch. A [ __ ] glitch. It was a

355
00:13:22,959 --> 00:13:25,120
glitch.

356
00:13:25,120 --> 00:13:29,240
What the [ __ ] is a glitch?

357
00:13:29,839 --> 00:13:31,440
I told you, Le, I'm not stupid.

358
00:13:31,440 --> 00:13:33,360
Glitch. A glitch. It was a [ __ ]

359
00:13:33,360 --> 00:13:36,240
glitch. A glitch. What the hell does

360
00:13:36,240 --> 00:13:38,160
that even mean?

361
00:13:38,160 --> 00:13:41,120
I don't know. Glitch. Jesus Christ. A

362
00:13:41,120 --> 00:13:44,160
glitch. A computer glitch. A glitch.

363
00:13:44,160 --> 00:13:48,160
What the hell does that even mean?

364
00:13:48,160 --> 00:13:50,639
I'm not stupid. I told you. Jesus

365
00:13:50,639 --> 00:13:51,360
Christ.

366
00:13:51,360 --> 00:13:55,040
The glitch. The glitch. The What the

367
00:13:55,040 --> 00:13:58,399
hell does that even mean? I don't know.

368
00:13:58,399 --> 00:14:01,199
I'm not stupid, Lee.

369
00:14:01,199 --> 00:14:02,880
Oh, Jesus Christ. The glitch. The

370
00:14:02,880 --> 00:14:06,800
glitch. The glitch. The Shut up.

371
00:14:06,800 --> 00:14:09,920
Jesus Christ. Glitch. The glitch. The

372
00:14:09,920 --> 00:14:11,600
glitch. The [ __ ] The glitch. The

373
00:14:11,600 --> 00:14:12,800
glitch. Shut up about the glitch. What

374
00:14:12,800 --> 00:14:15,440
does that even mean?

375
00:14:15,440 --> 00:14:19,760
I'm not stupidly. I told you the glitch.

376
00:14:19,760 --> 00:14:22,320
The glitch. The glitch. Shut up about

377
00:14:22,320 --> 00:14:23,760
the glitch. What does that even mean?

378
00:14:23,760 --> 00:14:27,199
Huh? I'm not stupidly

379
00:14:27,199 --> 00:14:30,000
Jesus Christ. The glitch. The glitch.

380
00:14:30,000 --> 00:14:32,079
The glitch. The glitch. The glitch. The

381
00:14:32,079 --> 00:14:35,040
glitch. Shut up about the glitch. What

382
00:14:35,040 --> 00:14:38,000
the hell does that even mean?

383
00:14:38,000 --> 00:14:40,560
I'm not stupid.

384
00:14:40,560 --> 00:14:42,240
Jesus Christ. The glitch. The glitch.

385
00:14:42,240 --> 00:14:44,720
The glitch. The glitch. The glitch. The

386
00:14:44,720 --> 00:14:46,720
glitch. Shut up about the glitch. Huh?

387
00:14:46,720 --> 00:14:50,240
What the hell does that even mean?

388
00:14:51,920 --> 00:14:55,120
Uh, everyone just gets Yeah. Yep. Uh,

389
00:14:55,120 --> 00:14:58,240
you see, this is what I'm talking about.

390
00:14:58,240 --> 00:15:00,240
Oh, Jesus Christ. The glitch. The

391
00:15:00,240 --> 00:15:01,680
glitch. The glitch. The glitch. The

392
00:15:01,680 --> 00:15:04,079
glitch. The [ __ ] glitch.

393
00:15:04,079 --> 00:15:07,279
Shut up about the [ __ ] glitch.

394
00:15:07,279 --> 00:15:09,680
All right.

395
00:15:09,680 --> 00:15:11,199
You see, that's your problem. You just

396
00:15:11,199 --> 00:15:13,040
sit there behind your little [ __ ]

397
00:15:13,040 --> 00:15:17,279
desk. Oh, Jesus Christ. The glitch. The

398
00:15:17,279 --> 00:15:19,040
glitch. It's the glitch. The glitch. The

399
00:15:19,040 --> 00:15:21,440
glitch. Shut up about the glitch. What

400
00:15:21,440 --> 00:15:25,320
the hell does that even mean?

401
00:15:25,600 --> 00:15:27,199
That was a case where we didn't really

402
00:15:27,199 --> 00:15:28,639
know what we were going to need until

403
00:15:28,639 --> 00:15:30,800
much later on in the process. So, we had

404
00:15:30,800 --> 00:15:33,920
to get a lot of different varieties. Um,

405
00:15:33,920 --> 00:15:36,720
uh, we knew that we were going to just

406
00:15:36,720 --> 00:15:38,639
run through a thousand takes and

407
00:15:38,639 --> 00:15:39,839
hopefully the actor wouldn't be too mad

408
00:15:39,839 --> 00:15:42,480
at us. You just sit there behind their

409
00:15:42,480 --> 00:15:44,240
little [ __ ] desk like their little

410
00:15:44,240 --> 00:15:45,680
[ __ ] puppet, buying into their

411
00:15:45,680 --> 00:15:47,199
[ __ ] instead of trying to figure out

412
00:15:47,199 --> 00:15:48,240
what really happened.

413
00:15:48,240 --> 00:15:49,360
You know what happened? It was a

414
00:15:49,360 --> 00:15:50,160
computer glitch.

415
00:15:50,160 --> 00:15:52,160
A glitch. A glitch. It was a [ __ ]

416
00:15:52,160 --> 00:15:55,279
glitch. A glitch. Shut up about the

417
00:15:55,279 --> 00:15:58,000
glitch. All right. What the hell does

418
00:15:58,000 --> 00:16:00,880
that even mean?

419
00:16:00,880 --> 00:16:02,480
You see, you don't even know how much

420
00:16:02,480 --> 00:16:06,360
stupidly I told you.

421
00:16:11,519 --> 00:16:14,000
It's never too late to collaborate on a

422
00:16:14,000 --> 00:16:16,720
movie. Um, there is at no point is

423
00:16:16,720 --> 00:16:18,639
everything locked in place. Even though

424
00:16:18,639 --> 00:16:20,399
you have a plan, sometimes something

425
00:16:20,399 --> 00:16:21,920
happens, especially during the course of

426
00:16:21,920 --> 00:16:24,399
shooting, and suddenly it occurs to you

427
00:16:24,399 --> 00:16:26,079
or to someone else, whether it be your

428
00:16:26,079 --> 00:16:28,079
actors or other collaborators, that

429
00:16:28,079 --> 00:16:30,160
something needs to change. Um, a good

430
00:16:30,160 --> 00:16:31,360
example for me is in Home for the

431
00:16:31,360 --> 00:16:34,399
Holidays. There is uh the seinal

432
00:16:34,399 --> 00:16:36,079
Thanksgiving scene. The turkey goes

433
00:16:36,079 --> 00:16:37,600
flying. Everybody's angry with each

434
00:16:37,600 --> 00:16:39,360
other. And at the end of that scene was

435
00:16:39,360 --> 00:16:41,600
a very long speech. Steve Gutenberg's

436
00:16:41,600 --> 00:16:44,720
character says to Holly Hunter, "Well,

437
00:16:44,720 --> 00:16:47,120
Claudia,

438
00:16:47,120 --> 00:16:49,600
tell us about your glamorous life." And

439
00:16:49,600 --> 00:16:51,920
she is taken aback. Her glamorous life,

440
00:16:51,920 --> 00:16:53,120
all these terrible things have happened

441
00:16:53,120 --> 00:16:54,880
to her today. And in the original

442
00:16:54,880 --> 00:16:56,240
script, she launches into this

443
00:16:56,240 --> 00:16:58,240
confession and says all the things that

444
00:16:58,240 --> 00:17:00,720
happened to her that day. Her daughter

445
00:17:00,720 --> 00:17:02,959
is losing her virginity in that moment.

446
00:17:02,959 --> 00:17:05,520
Uh she lost her job. She made out with

447
00:17:05,520 --> 00:17:07,679
her boss for no reason at all. She

448
00:17:07,679 --> 00:17:09,120
doesn't know why it happened. She's

449
00:17:09,120 --> 00:17:12,000
entirely inshamed and embarrassed. Um

450
00:17:12,000 --> 00:17:14,240
and both Holly came to me and said, "I'm

451
00:17:14,240 --> 00:17:15,600
just having a really hard time with this

452
00:17:15,600 --> 00:17:17,120
confession. I don't understand why after

453
00:17:17,120 --> 00:17:18,480
all of this, she just stands there and

454
00:17:18,480 --> 00:17:20,720
tells everybody this story." And we

455
00:17:20,720 --> 00:17:22,240
started talking about it. And I was

456
00:17:22,240 --> 00:17:24,319
listening to her and I I I understood

457
00:17:24,319 --> 00:17:28,799
her confusion and I thought, well, let's

458
00:17:28,799 --> 00:17:30,400
figure out a new way. We brought over

459
00:17:30,400 --> 00:17:32,880
Robert Downey Jr. and we realized that a

460
00:17:32,880 --> 00:17:34,640
good idea would be to give her brother

461
00:17:34,640 --> 00:17:38,480
that whole speech. And uh what ended up

462
00:17:38,480 --> 00:17:40,400
what ended up on screen when we worked

463
00:17:40,400 --> 00:17:42,160
with the writer, we shut down the shoot

464
00:17:42,160 --> 00:17:43,280
for that day and said, "You know what?

465
00:17:43,280 --> 00:17:44,240
We're going to rewrite the scene really

466
00:17:44,240 --> 00:17:45,200
quickly. We're going to come back

467
00:17:45,200 --> 00:17:46,240
tomorrow and I'm going to shoot it

468
00:17:46,240 --> 00:17:47,840
differently." And we overnight

469
00:17:47,840 --> 00:17:49,440
completely changed the scene. to this

470
00:17:49,440 --> 00:17:50,960
big long confessional instead of it

471
00:17:50,960 --> 00:17:53,280
being Holly Hunter's confessional was

472
00:17:53,280 --> 00:17:54,960
this moment where she's paralyzed in

473
00:17:54,960 --> 00:17:56,880
front of this question. question is,

474
00:17:56,880 --> 00:17:59,280
"Tell us about your glamorous life." And

475
00:17:59,280 --> 00:18:01,440
she just looks stunned and says, "My

476
00:18:01,440 --> 00:18:04,480
glamorous my glamorous life." And at

477
00:18:04,480 --> 00:18:07,039
that, her brother picks up and says,

478
00:18:07,039 --> 00:18:09,039
"Your glamorous life." And she says,

479
00:18:09,039 --> 00:18:11,200
"Can you help me?" And at that, he

480
00:18:11,200 --> 00:18:13,919
launches into the confessional of every

481
00:18:13,919 --> 00:18:16,080
bit of failure that she has had in that

482
00:18:16,080 --> 00:18:18,160
day. And it's a complete confession on

483
00:18:18,160 --> 00:18:21,440
his part for her of what an loser and

484
00:18:21,440 --> 00:18:24,320
idiot she is. And the two of them laugh

485
00:18:24,320 --> 00:18:27,120
about that. And there was something I

486
00:18:27,120 --> 00:18:28,799
think in the flexibility of that moment

487
00:18:28,799 --> 00:18:31,200
of allowing the actors to bring a piece

488
00:18:31,200 --> 00:18:33,360
of confusion to the table and say this

489
00:18:33,360 --> 00:18:35,520
doesn't make sense to me. An actor says

490
00:18:35,520 --> 00:18:37,280
something doesn't make sense to them.

491
00:18:37,280 --> 00:18:39,280
You must listen. This is why you hire

492
00:18:39,280 --> 00:18:40,880
them. This is why they get paid the big

493
00:18:40,880 --> 00:18:42,640
bucks is that they have these honed

494
00:18:42,640 --> 00:18:44,160
instincts about their characters and

495
00:18:44,160 --> 00:18:48,360
they know when something isn't right.

496
00:18:52,160 --> 00:18:53,520
Well, there's a process of working with

497
00:18:53,520 --> 00:18:55,280
actors that's really just about respect.

498
00:18:55,280 --> 00:18:57,120
Um, if an actor has an emotional scene,

499
00:18:57,120 --> 00:18:59,919
we try to keep the stage quiet. Uh, we

500
00:18:59,919 --> 00:19:03,200
try to not uh yell things behind the

501
00:19:03,200 --> 00:19:04,960
camera. In fact, there's never any

502
00:19:04,960 --> 00:19:06,320
yelling on my sets. Uh, that's something

503
00:19:06,320 --> 00:19:08,240
I sort of don't tolerate. I find it

504
00:19:08,240 --> 00:19:10,720
doesn't get any good work out of anyone.

505
00:19:10,720 --> 00:19:12,960
And, uh, if we have, usually that might

506
00:19:12,960 --> 00:19:14,320
be the AD department where there's a

507
00:19:14,320 --> 00:19:16,160
yeller. Uh, chances are they'll be

508
00:19:16,160 --> 00:19:17,760
looking for a new job very soon. Uh,

509
00:19:17,760 --> 00:19:19,760
yelling doesn't do any good to anybody.

510
00:19:19,760 --> 00:19:22,000
Um, but also little things, you know.

511
00:19:22,000 --> 00:19:24,400
Um, people don't really understand what

512
00:19:24,400 --> 00:19:26,160
an actor goes through. So, I don't ever

513
00:19:26,160 --> 00:19:27,600
make an actor wait. I try not to ever

514
00:19:27,600 --> 00:19:29,200
make an actor wait. And if I do, I make

515
00:19:29,200 --> 00:19:30,640
sure that I go to their trailer and I

516
00:19:30,640 --> 00:19:32,320
apologize that there was something that

517
00:19:32,320 --> 00:19:33,840
came up that we couldn't help it. And

518
00:19:33,840 --> 00:19:35,360
I'm really sorry that I made you wait

519
00:19:35,360 --> 00:19:36,960
for a long period of time where you were

520
00:19:36,960 --> 00:19:38,240
already in character and you were ready

521
00:19:38,240 --> 00:19:39,840
to go and you were in your pett coat in

522
00:19:39,840 --> 00:19:42,480
full makeup and uh you were on stage and

523
00:19:42,480 --> 00:19:44,240
nothing happened. Um, or we called you

524
00:19:44,240 --> 00:19:46,080
at the wrong time. I mean, all of it is

525
00:19:46,080 --> 00:19:48,080
really just letting them know that we

526
00:19:48,080 --> 00:19:50,799
are here to let them have their moment,

527
00:19:50,799 --> 00:19:53,039
that they are essential and absolutely

528
00:19:53,039 --> 00:19:54,720
important and that we respect them. And

529
00:19:54,720 --> 00:19:56,559
that extends to everything. It extends

530
00:19:56,559 --> 00:19:59,200
to how we give the actor their call

531
00:19:59,200 --> 00:20:02,320
sheet or how we ask if the actor perhaps

532
00:20:02,320 --> 00:20:03,760
if it's a lead actor, would you like to

533
00:20:03,760 --> 00:20:05,520
have your lunch in your room or would

534
00:20:05,520 --> 00:20:07,200
you prefer to have it uh you know with

535
00:20:07,200 --> 00:20:10,320
everybody? Um sometimes small details

536
00:20:10,320 --> 00:20:12,160
can really perfect affect their

537
00:20:12,160 --> 00:20:14,000
performance. Uh, a friend of mine told

538
00:20:14,000 --> 00:20:15,280
me that he was working with an actor who

539
00:20:15,280 --> 00:20:16,799
was, you know, good. He was a really

540
00:20:16,799 --> 00:20:19,360
tall guy. He was like 6' 3 or 6'4 and

541
00:20:19,360 --> 00:20:21,360
and he came to the producer and said,

542
00:20:21,360 --> 00:20:25,360
you know, I'd like to have a bigger car.

543
00:20:25,360 --> 00:20:27,200
And the producer basically denied it and

544
00:20:27,200 --> 00:20:28,880
said, "Absolutely not." But he was

545
00:20:28,880 --> 00:20:31,200
really unhappy. He's 6'4 and he has big

546
00:20:31,200 --> 00:20:33,440
long legs and he really needed a car to

547
00:20:33,440 --> 00:20:34,640
be comfortable in the morning when he

548
00:20:34,640 --> 00:20:36,640
came to work. And everything changed

549
00:20:36,640 --> 00:20:38,480
once he got he just got that's all he

550
00:20:38,480 --> 00:20:40,240
needed. He just needed some leg room.

551
00:20:40,240 --> 00:20:43,440
And sometimes people just need food. If

552
00:20:43,440 --> 00:20:45,760
you're gonna have um dailies and you're

553
00:20:45,760 --> 00:20:47,200
expecting people to come, you should

554
00:20:47,200 --> 00:20:49,520
feed them. It's just your basic people

555
00:20:49,520 --> 00:20:51,360
skills of how to treat your crew and

556
00:20:51,360 --> 00:20:53,679
your actors with enough respect to know

557
00:20:53,679 --> 00:20:55,440
that your job is incredibly hard, your

558
00:20:55,440 --> 00:20:56,960
hours are incredibly long. What we're

559
00:20:56,960 --> 00:20:59,200
asking you to do is either

560
00:20:59,200 --> 00:21:02,960
excruciatingly boring and tedious, or

561
00:21:02,960 --> 00:21:06,240
the opposite, phenomenally challenging.

562
00:21:06,240 --> 00:21:08,720
It's never in between. So you have to

563
00:21:08,720 --> 00:21:10,720
respect that these people, you know,

564
00:21:10,720 --> 00:21:13,120
they may have little tiny things that

565
00:21:13,120 --> 00:21:15,440
might affect their performance. And if

566
00:21:15,440 --> 00:21:17,360
it just requires you giving an inch, you

567
00:21:17,360 --> 00:21:19,919
should give the inch.

1
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There are a lot of things that waste

2
00:00:14,000 --> 00:00:16,480
time on movies. For example, you have

3
00:00:16,480 --> 00:00:18,800
five setups. You have one incredibly

4
00:00:18,800 --> 00:00:20,560
wide shot and then the other ones there

5
00:00:20,560 --> 00:00:21,840
are little pieces that you're going in

6
00:00:21,840 --> 00:00:23,840
for. You're wide shot. You can barely

7
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see the people's mouths move. So, please

8
00:00:26,160 --> 00:00:29,359
don't do 25 takes of the entire scene

9
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and print them all and give the actor

10
00:00:31,359 --> 00:00:33,280
notes based on this wide shot. You're

11
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probably only going to need one take or

12
00:00:35,200 --> 00:00:37,680
maybe two takes. Go in and get the other

13
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stuff afterwards. And don't waste all of

14
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your time getting the wide shot perfect.

15
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You know, allow allow yourself to go in

16
00:00:43,920 --> 00:00:45,600
for the other shots. With movement, very

17
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often when you start a move and you know

18
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that you're going to keep this move, you

19
00:00:50,719 --> 00:00:52,480
want the beginning of the move and you

20
00:00:52,480 --> 00:00:54,800
want the end of the move. And that means

21
00:00:54,800 --> 00:00:56,239
you're going to be stuck on this shot

22
00:00:56,239 --> 00:00:59,440
for the whole thing. Uh if you make that

23
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decision that you're going to keep that

24
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shot, then you don't need those lines

25
00:01:02,719 --> 00:01:04,799
for any of the other pieces of coverage.

26
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So you don't need to get everything

27
00:01:06,479 --> 00:01:08,960
perfect if you know that you have the

28
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money shots or the shots that are really

29
00:01:10,400 --> 00:01:12,400
really in your head are working. So

30
00:01:12,400 --> 00:01:14,159
that's really where a lot of time gets

31
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spent is I think people want everything

32
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perfect and they don't have an

33
00:01:17,280 --> 00:01:18,880
understanding of their cutting pattern

34
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or their potential cutting pattern and

35
00:01:20,799 --> 00:01:22,720
they've heard that old adage of get

36
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coverage, get everything, get every

37
00:01:24,560 --> 00:01:27,280
choice you could possibly have.

38
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Large films can afford to not make

39
00:01:29,520 --> 00:01:32,000
choices. A little movie got to make

40
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choices and keep moving on.

41
00:01:39,759 --> 00:01:41,520
If you are decisive and you know what

42
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you are trying to say, less is often

43
00:01:43,920 --> 00:01:47,680
more. Um, if you know that you can so

44
00:01:47,680 --> 00:01:49,439
you can be flexible. Let's just say the

45
00:01:49,439 --> 00:01:50,720
sun is setting. You didn't get

46
00:01:50,720 --> 00:01:52,320
everything that you were hoping for. You

47
00:01:52,320 --> 00:01:53,680
have five more shots that you've

48
00:01:53,680 --> 00:01:57,759
prepared and it's a scene uh where um

49
00:01:57,759 --> 00:02:00,320
the the little boy and the little

50
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manatee, the little boy and the mother

51
00:02:01,759 --> 00:02:04,079
are together and u nobody's come to his

52
00:02:04,079 --> 00:02:05,520
birthday party and he sees that there's

53
00:02:05,520 --> 00:02:07,200
nobody there. She goes to comfort him,

54
00:02:07,200 --> 00:02:08,720
but he doesn't want to be comforted and

55
00:02:08,720 --> 00:02:10,959
he walks out of the room. Uh, and on

56
00:02:10,959 --> 00:02:12,959
that particular day, I had five shots

57
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prepared in order to tell that story.

58
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And we just didn't have the time. So,

59
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what we realized is is that there was

60
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something really beautiful about hanging

61
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out wide, of seeing this beautiful

62
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composition of seeing everything happen

63
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like a silent movie. It allowed the

64
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scene to not be so sentimental. And um I

65
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saw that I saw that in in some ways the

66
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constraint that I had allowed me to find

67
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something in the scene that was richer.

68
00:02:38,239 --> 00:02:39,920
Very often the constraints that come up

69
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whether it's the sun going down or the

70
00:02:41,840 --> 00:02:44,239
crew has to break for lunch or your your

71
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your actor broke their knee. Uh these

72
00:02:47,440 --> 00:02:49,280
these these happen stance things that

73
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happen allow you to open up to improvise

74
00:02:51,440 --> 00:02:52,879
and to come up with something that in

75
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some ways is clearer and much more the

76
00:02:55,120 --> 00:02:56,560
point of your vision than you ever

77
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anticipated.

78
00:03:03,440 --> 00:03:05,280
There's a scene that I I'd love to

79
00:03:05,280 --> 00:03:08,879
introduce you to uh where uh Lectar is

80
00:03:08,879 --> 00:03:10,959
telling her uh is kind of reading her

81
00:03:10,959 --> 00:03:13,599
her beads and saying, you know, you with

82
00:03:13,599 --> 00:03:16,720
your good bag and your cheap shoes. Um

83
00:03:16,720 --> 00:03:21,159
and it's really just a reaction shot.

84
00:03:22,720 --> 00:03:24,400
Oh, agents darling, you think you can

85
00:03:24,400 --> 00:03:27,920
dissect me with this blunt little tool?

86
00:03:27,920 --> 00:03:30,959
No, I I I thought that your knowledge

87
00:03:30,959 --> 00:03:33,599
You're so ambitious, aren't you?

88
00:03:33,599 --> 00:03:34,879
You know what you look like to me with

89
00:03:34,879 --> 00:03:37,519
your good bag and your cheap shoes? You

90
00:03:37,519 --> 00:03:40,640
look like a robe. A well scrubbed,

91
00:03:40,640 --> 00:03:44,480
hustling robe with a little taste.

92
00:03:44,480 --> 00:03:46,080
Good nutrition's given you some length

93
00:03:46,080 --> 00:03:48,000
of bone, but you're not more than one

94
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generation from poor wire trash, are

95
00:03:50,480 --> 00:03:53,040
you, Agent Starling? And that accent

96
00:03:53,040 --> 00:03:55,680
you've tried so desperately to shed pure

97
00:03:55,680 --> 00:03:58,480
West Virginia. What does your father do?

98
00:03:58,480 --> 00:04:00,799
Is he a coal miner? Does he stinkle the

99
00:04:00,799 --> 00:04:03,599
land? You know how quickly the boys

100
00:04:03,599 --> 00:04:06,159
found you. All those tedious sticky

101
00:04:06,159 --> 00:04:08,319
fumblings in the back seats of cars

102
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while you could only dream of getting

103
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out, getting anywhere, getting all the

104
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way to the end of the eye.

105
00:04:19,040 --> 00:04:21,919
You see a lot, doctor.

106
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When are you strong enough to point that

107
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high powered perception at yourself?

108
00:04:28,160 --> 00:04:29,840
What about it? Why don't you Why don't

109
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you look at yourself and write down what

110
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you see?

111
00:04:34,160 --> 00:04:37,120
Maybe you're afraid to. She kind of

112
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takes this assault that Lectra gives to

113
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her. And the camera pushes in very

114
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slowly. And we see her change from being

115
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steelely and above it all to being

116
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touched by his violence

117
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to finally acquiescing and agreeing that

118
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he's hurt her and trying to turn that in

119
00:04:55,759 --> 00:04:59,120
to go back to what her mission as an FBI

120
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agent was. Uh but we get to see the pain

121
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and the hurt of a past that is working

122
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in her present that even she doesn't

123
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understand. Um, it doesn't always have

124
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to be dialogue. Uh, very often the most

125
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powerful moments on screen are without

126
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dialogue. There's an interesting moment

127
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in that scene uh that I showed to you,

128
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Sounds of the Lambs, where Lecter makes

129
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fun of Clarice's accent.

130
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And, uh, that was not rehearsed. That

131
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was just something that um, Anthony

132
00:05:27,600 --> 00:05:29,919
Hopkins came up with. Um, I was an

133
00:05:29,919 --> 00:05:31,680
actress learning how to speak in a West

134
00:05:31,680 --> 00:05:33,680
Virginia accent. And when I heard him

135
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make fun of my accent, it really made me

136
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mad.

137
00:05:38,560 --> 00:05:41,039
And um it's an interesting thing that

138
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happens. I think that you can you can

139
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feel that. You can feel this kind of

140
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shame of having tried so hard to be

141
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something and having somebody humiliate

142
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you and not being able to do anything

143
00:05:52,080 --> 00:05:53,840
about it because you're smaller, you're

144
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more fragile, and um you're scared.

145
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Very often with independent movies,

146
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maybe you'll be doing a scene that's 8

147
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10 pages long and you've got dialogue

148
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between characters. It's very long. How

149
00:06:11,360 --> 00:06:13,039
are you going to know or remember which

150
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take is good and which take isn't? How

151
00:06:14,639 --> 00:06:15,600
are you going to remember whether you

152
00:06:15,600 --> 00:06:18,960
had that line really good on that angle?

153
00:06:18,960 --> 00:06:20,240
One of the things that I've started

154
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doing is um I will simultaneously

155
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make a little check on the lines on that

156
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particular take that I really like. I

157
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may not have a lot of money. I may not

158
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have a lot of time. And that way I'll

159
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remember if there's one particular line

160
00:06:35,120 --> 00:06:36,400
that he might be having trouble with,

161
00:06:36,400 --> 00:06:38,160
but I really like it in that take, then

162
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I know I've got it and I can move on.

163
00:06:46,000 --> 00:06:48,240
Let's just say you have a very elaborate

164
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sequence that involves a lot of cameras

165
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and a lot of dialogue. Uh, for example,

166
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uh, the show, the beginning of the show

167
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of Money Monster, you have George

168
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Clooney coming in, you have a control

169
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room filled with people that are having

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lots of dialogue in between. You have

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another guy who's sneaking into a

172
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building who's in a totally different

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location. Um, and George's character,

174
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Lee, has these long, long, long

175
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monologues that are covered from five

176
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different cameras. Five different what

177
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we call video cameras, even though they

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have video. And then also there are film

179
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cameras as well. The only way to be able

180
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to keep track of all of the performances

181
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to make sure that you have what you need

182
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on the sizes that you're really hoping

183
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for is to be able to take these scribbly

184
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little notes. Uh what I like to do is um

185
00:07:36,560 --> 00:07:38,639
it looks really dumb.

186
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um I will

187
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uh put the seam number and then I'll put

188
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the letter number of the of the angle

189
00:07:46,160 --> 00:07:49,520
and then uh on this particular line for

190
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example uh you can tell that I liked uh

191
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the first take the second take the third

192
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take and the fourth take the third is

193
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starred so the third make take must have

194
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been good um and then I like for this

195
00:08:01,120 --> 00:08:02,479
line I like four and two and three and

196
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four and so forth um if let's just say

197
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we get to a line And

198
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uh oh, I get to a line and I only have

199
00:08:13,840 --> 00:08:17,919
um I only have uh and I and I've we've

200
00:08:17,919 --> 00:08:19,280
gone through five different takes and I

201
00:08:19,280 --> 00:08:20,800
realize that I don't have anything

202
00:08:20,800 --> 00:08:22,800
circled for that one particular line

203
00:08:22,800 --> 00:08:24,960
that I was really hoping for. Then I

204
00:08:24,960 --> 00:08:26,639
might pick it up in the angle that I'm

205
00:08:26,639 --> 00:08:28,240
hoping for. So I might pick it up and

206
00:08:28,240 --> 00:08:30,080
just do that one line because it's the

207
00:08:30,080 --> 00:08:32,000
one line that I don't have exactly the

208
00:08:32,000 --> 00:08:34,880
way that I want it. Now, this sounds as

209
00:08:34,880 --> 00:08:37,519
if every time somebody speaks, I'm going

210
00:08:37,519 --> 00:08:39,760
to be on their face. Well, I'm not. Not

211
00:08:39,760 --> 00:08:41,680
necessarily. Sometimes a camera, a

212
00:08:41,680 --> 00:08:43,039
character is speaking and I'm on

213
00:08:43,039 --> 00:08:45,200
somebody else. I'm on a reaction shot.

214
00:08:45,200 --> 00:08:48,560
But I want to make sure that just in

215
00:08:48,560 --> 00:08:51,040
case I happen to be on their face that I

216
00:08:51,040 --> 00:08:53,600
have the that I'm comfortable with that

217
00:08:53,600 --> 00:08:55,120
particular take. And when you're looking

218
00:08:55,120 --> 00:08:58,800
at scenes that are 13 or 14 pages long,

219
00:08:58,800 --> 00:09:00,240
uh if you hadn't made these type of

220
00:09:00,240 --> 00:09:01,839
notes, you might be lost. You might be

221
00:09:01,839 --> 00:09:03,440
get to the cutting room and realize that

222
00:09:03,440 --> 00:09:05,120
you just you don't have the take that

223
00:09:05,120 --> 00:09:08,279
you needed.

224
00:09:12,320 --> 00:09:14,560
I have a long collaboration with Diane

225
00:09:14,560 --> 00:09:16,560
Drier, my favorite script supervisor.

226
00:09:16,560 --> 00:09:18,560
Um, and she really is, I think, the

227
00:09:18,560 --> 00:09:21,200
closest person to me on the film, uh, so

228
00:09:21,200 --> 00:09:22,880
far in all the films that I've directed

229
00:09:22,880 --> 00:09:25,839
and some that I've acted in. Um, she's

230
00:09:25,839 --> 00:09:27,600
the person that I trust the most and we

231
00:09:27,600 --> 00:09:29,279
have the most elaborate conversations.

232
00:09:29,279 --> 00:09:31,040
Um I believe that her mind works

233
00:09:31,040 --> 00:09:33,200
similarly to mine. She's a communicator.

234
00:09:33,200 --> 00:09:36,560
She's very verbal and um she she lives

235
00:09:36,560 --> 00:09:38,640
in that side of her brain and sometimes

236
00:09:38,640 --> 00:09:40,959
um not all DPS do because they are such

237
00:09:40,959 --> 00:09:43,920
a visual beast. Not all composers do

238
00:09:43,920 --> 00:09:45,920
because they deal with music and so

239
00:09:45,920 --> 00:09:48,320
their language is different. But um

240
00:09:48,320 --> 00:09:50,800
Diane as a script supervisor is there to

241
00:09:50,800 --> 00:09:53,360
talk through story uh to talk through

242
00:09:53,360 --> 00:09:57,120
the editing and how the the the

243
00:09:57,120 --> 00:09:59,519
shots that we're achieving in production

244
00:09:59,519 --> 00:10:01,040
will end up being cut into the final

245
00:10:01,040 --> 00:10:03,839
film. Um there are always surprises that

246
00:10:03,839 --> 00:10:06,399
happen and both Diane and I remark on

247
00:10:06,399 --> 00:10:08,959
that so that we notice them. Her entire

248
00:10:08,959 --> 00:10:12,320
job is to write all of this down. She is

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00:10:12,320 --> 00:10:13,920
the person who is the archavist and the

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logger of every single thing that

251
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happens from real from magazine changes

252
00:10:18,959 --> 00:10:21,440
on the camera although we all shoot in

253
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digital now and now it's cards um to uh

254
00:10:24,800 --> 00:10:28,160
where the movements of the camera to how

255
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the actors may have changed the lines a

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bit um to their different matching

257
00:10:32,160 --> 00:10:34,079
problems. Did he hold the coffee cup in

258
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his right hand on one take? Did he hold

259
00:10:35,519 --> 00:10:37,120
the coffee cup in his left hand on the

260
00:10:37,120 --> 00:10:39,200
other take? Uh when the cigarette went

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00:10:39,200 --> 00:10:42,720
to his mouth. Um there isn't any sort of

262
00:10:42,720 --> 00:10:44,399
she basically has to notice everything

263
00:10:44,399 --> 00:10:47,120
and in noticing she is the person that

264
00:10:47,120 --> 00:10:49,440
um I really look to to to really create

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00:10:49,440 --> 00:10:51,760
the film

1
00:00:06,560 --> 00:00:08,160
Well, we've seen how it works when you

2
00:00:08,160 --> 00:00:10,400
have one perfect take and you're able to

3
00:00:10,400 --> 00:00:13,519
build on that. Uh, sometimes you have to

4
00:00:13,519 --> 00:00:17,440
do a lot of takes and um, as an actor

5
00:00:17,440 --> 00:00:19,439
that can be a painful process because

6
00:00:19,439 --> 00:00:22,240
you have to be able to find spontaneity.

7
00:00:22,240 --> 00:00:23,920
You have to make it feel real. It has to

8
00:00:23,920 --> 00:00:25,439
you have to discover it in that moment

9
00:00:25,439 --> 00:00:27,279
as if it was just happening to you. And

10
00:00:27,279 --> 00:00:31,279
you may have to do that 20, 30, 40,

11
00:00:31,279 --> 00:00:32,960
sometimes a hundred times, David

12
00:00:32,960 --> 00:00:34,559
Fincher.

13
00:00:34,559 --> 00:00:37,760
And um that's a it's an interesting

14
00:00:37,760 --> 00:00:40,640
skill, you know, how do you

15
00:00:40,640 --> 00:00:43,600
how do you bring that up again? You you

16
00:00:43,600 --> 00:00:46,079
can't manufacture it. Sometimes that

17
00:00:46,079 --> 00:00:47,840
means that the takes will change over

18
00:00:47,840 --> 00:00:49,840
time. The takes that you did in the

19
00:00:49,840 --> 00:00:51,680
beginning are just never going to be the

20
00:00:51,680 --> 00:00:53,760
same as the ones you did in the end. And

21
00:00:53,760 --> 00:00:55,440
maybe those last takes are better

22
00:00:55,440 --> 00:00:57,600
because you're exhausted, because you're

23
00:00:57,600 --> 00:01:00,399
sweaty, because it doesn't have the same

24
00:01:00,399 --> 00:01:02,320
spin that it might have had, or maybe

25
00:01:02,320 --> 00:01:04,239
like a ball that's moving, you have a

26
00:01:04,239 --> 00:01:05,840
momentum of emotion that by the time

27
00:01:05,840 --> 00:01:09,119
that you get to take 20 or 25, your

28
00:01:09,119 --> 00:01:10,479
character is just sort of giving

29
00:01:10,479 --> 00:01:13,439
everything that he has. In this case,

30
00:01:13,439 --> 00:01:15,920
Jack Oonnell uh is finally at the end of

31
00:01:15,920 --> 00:01:17,840
the movie after having lived for the

32
00:01:17,840 --> 00:01:21,360
entire movie trying to get somebody to

33
00:01:21,360 --> 00:01:25,119
acknowledge his pain to not even to give

34
00:01:25,119 --> 00:01:26,960
him his money back, not even to give him

35
00:01:26,960 --> 00:01:28,880
his wife back, not even to give him his

36
00:01:28,880 --> 00:01:31,439
life back. He knows if he's caught, if

37
00:01:31,439 --> 00:01:33,040
he ends ends this day, he'll end up

38
00:01:33,040 --> 00:01:34,560
going to prison probably for the rest of

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00:01:34,560 --> 00:01:36,960
his life. He just wants to hear

40
00:01:36,960 --> 00:01:40,000
something that acknowledges what he's

41
00:01:40,000 --> 00:01:42,479
suffered and that says that he matters.

42
00:01:42,479 --> 00:01:45,280
We'll get to see um my poor torturing of

43
00:01:45,280 --> 00:01:47,280
Jack and making him do take after take

44
00:01:47,280 --> 00:01:50,560
after take. Um

45
00:01:50,560 --> 00:01:52,960
I think that the takes were wonderful. I

46
00:01:52,960 --> 00:01:54,079
think that there were some technical

47
00:01:54,079 --> 00:01:55,360
things that I was trying to accomplish

48
00:01:55,360 --> 00:01:57,280
as well. Don't forget that he's going to

49
00:01:57,280 --> 00:01:59,040
have to give this emotional performance,

50
00:01:59,040 --> 00:02:00,479
but he's also going to have to make sure

51
00:02:00,479 --> 00:02:02,719
that he doesn't hide his face with his

52
00:02:02,719 --> 00:02:05,520
hand, that his hand is always in frame,

53
00:02:05,520 --> 00:02:07,360
that when he turns to his left shoulder,

54
00:02:07,360 --> 00:02:08,959
that he doesn't block the other actor so

55
00:02:08,959 --> 00:02:11,120
that the camera can see past, that he

56
00:02:11,120 --> 00:02:14,080
remains in focus. There's any number of

57
00:02:14,080 --> 00:02:16,879
different technical constraints that an

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00:02:16,879 --> 00:02:19,200
actor has to simultaneously

59
00:02:19,200 --> 00:02:20,800
help with and collaborate with and

60
00:02:20,800 --> 00:02:22,879
participate with. Um, he's going to have

61
00:02:22,879 --> 00:02:24,640
to give this performance on one hand,

62
00:02:24,640 --> 00:02:25,920
but he's going to have to also

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00:02:25,920 --> 00:02:27,599
accommodate the camera so that what

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00:02:27,599 --> 00:02:32,200
we're hoping for will end up on screen.

65
00:02:40,000 --> 00:02:42,319
That's all I wanted to hear, man.

66
00:02:42,319 --> 00:02:45,720
It was wrong.

67
00:02:49,120 --> 00:02:52,879
That's all I wanted to hear, man.

68
00:02:53,120 --> 00:02:56,519
It was wrong.

69
00:02:58,319 --> 00:03:02,519
It's all I wanted to hear, man.

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00:03:02,560 --> 00:03:06,680
That's all I wanted to hear, man.

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00:03:12,000 --> 00:03:14,159
That's all I wanted to hear, man.

72
00:03:14,159 --> 00:03:17,560
It was wrong.

73
00:03:20,800 --> 00:03:22,800
That's all I wanted to hear, man.

74
00:03:22,800 --> 00:03:26,200
It was wrong.

75
00:03:28,400 --> 00:03:32,760
That's all I wanted to hear, man.

76
00:03:35,680 --> 00:03:39,080
It was wrong.

77
00:03:42,400 --> 00:03:46,680
That's all I wanted to hear, man.

78
00:03:49,200 --> 00:03:50,799
wonderful thing about Jack O Connell is

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00:03:50,799 --> 00:03:54,080
that um he uh he loves a kind of

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00:03:54,080 --> 00:03:57,360
primitive language. Um he speaks and

81
00:03:57,360 --> 00:03:58,400
sometimes he speaks a different

82
00:03:58,400 --> 00:04:00,159
vocabulary than I do and so both of us

83
00:04:00,159 --> 00:04:03,040
have to translate. Um he just wants me

84
00:04:03,040 --> 00:04:05,680
to talk to him in terms of character. So

85
00:04:05,680 --> 00:04:07,519
um he doesn't want me to talk about film

86
00:04:07,519 --> 00:04:09,200
making. He doesn't he doesn't uh he

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00:04:09,200 --> 00:04:10,720
doesn't respond as much to kind of an

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intellectual discourse about what it

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00:04:12,560 --> 00:04:16,160
means or um uh or taking it apart the

90
00:04:16,160 --> 00:04:17,919
way you might take apart a book report.

91
00:04:17,919 --> 00:04:19,600
Um he's he doesn't he's not looking for

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literary criticism. I think he really

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00:04:21,120 --> 00:04:22,639
wants me to be in the moment with him as

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an actor. Um very simple, very primitive

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00:04:25,840 --> 00:04:28,400
uh feel really talking about feelings.

96
00:04:28,400 --> 00:04:31,120
Um the the other thing that I know about

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00:04:31,120 --> 00:04:33,040
him is that as time goes on, there's a

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00:04:33,040 --> 00:04:34,400
momentum to his feeling and you'll

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you'll see that at the beginnings of

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these takes. um he he he's you know it

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00:04:40,479 --> 00:04:41,919
works beautifully, but as time goes on,

102
00:04:41,919 --> 00:04:43,840
he starts sweating. He starts sweating

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some more. As we got to the end of the

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takes um when he's getting closer to the

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death scene, it's like this unc

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uncontrollable sweat flops that come off

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of him. Um that when you see them on

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screen, it's interesting how raw that

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translates to. So I do like getting him

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through a lot of takes and then getting

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him to those end takes.

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00:05:04,639 --> 00:05:06,880
It was wrong.

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00:05:06,880 --> 00:05:08,960
It was wrong.

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00:05:08,960 --> 00:05:13,720
It was wrong. It was wrong.

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It's all I wanted to hear, man.

1
00:00:06,480 --> 00:00:08,240
The way the editing process works is

2
00:00:08,240 --> 00:00:10,240
very similar to the way the rewriting

3
00:00:10,240 --> 00:00:14,160
process works. Um, you have uh you have

4
00:00:14,160 --> 00:00:16,000
a scene and then you just keep chipping

5
00:00:16,000 --> 00:00:18,080
away at it, right? You keep making it

6
00:00:18,080 --> 00:00:20,000
better, making it more meaningful,

7
00:00:20,000 --> 00:00:21,520
having discussions about what the scene

8
00:00:21,520 --> 00:00:22,720
really means and then you just keep

9
00:00:22,720 --> 00:00:24,160
chipping away at it and chipping away at

10
00:00:24,160 --> 00:00:26,640
it, adding pieces. And that's where you

11
00:00:26,640 --> 00:00:28,240
really start having a dialogue about

12
00:00:28,240 --> 00:00:29,679
your movie that's different than at any

13
00:00:29,679 --> 00:00:31,920
other time because you have the existing

14
00:00:31,920 --> 00:00:33,600
footage in front of you. You can't

15
00:00:33,600 --> 00:00:35,360
create footage from nowhere. You can't

16
00:00:35,360 --> 00:00:36,800
pretend that there was something else in

17
00:00:36,800 --> 00:00:38,800
another box. It's all sitting there in

18
00:00:38,800 --> 00:00:40,399
front of you. You start having your

19
00:00:40,399 --> 00:00:42,160
collaboration with your editor. He will

20
00:00:42,160 --> 00:00:45,120
do an assembly and then I'll look at the

21
00:00:45,120 --> 00:00:48,079
assembly and uh make tons and tons and

22
00:00:48,079 --> 00:00:50,000
tons of notes. I'll probably hang my

23
00:00:50,000 --> 00:00:51,760
head in shame in the beginning part of

24
00:00:51,760 --> 00:00:53,840
the process because the assembly always

25
00:00:53,840 --> 00:00:58,399
feels awful. Uh and uh then you start

26
00:00:58,399 --> 00:01:00,079
knowing all of your footage as you start

27
00:01:00,079 --> 00:01:02,480
going through the footage and uh you

28
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start talking through the footage um

29
00:01:04,400 --> 00:01:06,720
trying different things. In the old

30
00:01:06,720 --> 00:01:09,200
days, we used to have um it really was

31
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film and we cut on uh cut on film and

32
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you had to really understand what was in

33
00:01:14,240 --> 00:01:15,680
every one of those reels because you had

34
00:01:15,680 --> 00:01:17,200
to take it out of the reel. You had to

35
00:01:17,200 --> 00:01:18,479
pull it down, you had to put it on the

36
00:01:18,479 --> 00:01:20,159
thing, you had to cut it, then you had

37
00:01:20,159 --> 00:01:21,680
to show it one way, then you had to cut

38
00:01:21,680 --> 00:01:23,280
it back and show it a second way in

39
00:01:23,280 --> 00:01:25,680
order to do comparisons. So in the old

40
00:01:25,680 --> 00:01:27,759
days, you developed a skill of being

41
00:01:27,759 --> 00:01:29,840
able to really pay attention to what the

42
00:01:29,840 --> 00:01:32,560
performances were, to what the movements

43
00:01:32,560 --> 00:01:34,479
were, so that you could remember them to

44
00:01:34,479 --> 00:01:36,000
bring them back from take to take and

45
00:01:36,000 --> 00:01:38,880
say, "I like take one for this reason. I

46
00:01:38,880 --> 00:01:41,360
like take four for this reason. I like

47
00:01:41,360 --> 00:01:44,159
this line on take three. I don't like

48
00:01:44,159 --> 00:01:46,320
the wide shot." To be able to make all

49
00:01:46,320 --> 00:01:48,000
of those choices, you have to have a

50
00:01:48,000 --> 00:01:50,720
memory, a sort of emotional memory of

51
00:01:50,720 --> 00:01:52,320
what the actors are doing and what the

52
00:01:52,320 --> 00:01:54,000
characters are doing, and also be able

53
00:01:54,000 --> 00:01:55,600
to have a technical memory of what

54
00:01:55,600 --> 00:01:57,119
they're doing physically. One of the

55
00:01:57,119 --> 00:01:58,079
wonderful things about digital

56
00:01:58,079 --> 00:01:59,680
technology is that you can push a lot of

57
00:01:59,680 --> 00:02:01,840
buttons and say, is it better? Is it

58
00:02:01,840 --> 00:02:03,280
worse? Is it better? Is it worse? Is it

59
00:02:03,280 --> 00:02:04,640
better? Is it worse? You can toggle back

60
00:02:04,640 --> 00:02:06,079
and forth between things to make

61
00:02:06,079 --> 00:02:09,200
decisions. But I still believe that your

62
00:02:09,200 --> 00:02:11,599
memory is your greatest tool. Uh if you

63
00:02:11,599 --> 00:02:13,599
can look at things the old way and start

64
00:02:13,599 --> 00:02:15,680
asking yourself questions about why you

65
00:02:15,680 --> 00:02:17,360
like that line reading better than the

66
00:02:17,360 --> 00:02:19,200
other line reading or what that

67
00:02:19,200 --> 00:02:20,640
performance is telling you that the

68
00:02:20,640 --> 00:02:22,319
other performance wasn't telling you.

69
00:02:22,319 --> 00:02:23,920
These ongoing dialogues that you have

70
00:02:23,920 --> 00:02:26,400
with yourself and with the editor where

71
00:02:26,400 --> 00:02:28,239
you put yourself in each of the

72
00:02:28,239 --> 00:02:30,640
characters point of view. You know ask

73
00:02:30,640 --> 00:02:33,440
start asking questions like why does he

74
00:02:33,440 --> 00:02:34,879
wait so long before he gives him the

75
00:02:34,879 --> 00:02:37,680
answer or is he telling him the truth?

76
00:02:37,680 --> 00:02:39,599
Does he really have a $100 in his pocket

77
00:02:39,599 --> 00:02:41,519
or is he just saying he does? You start

78
00:02:41,519 --> 00:02:43,599
asking all of these questions as if you

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00:02:43,599 --> 00:02:45,200
were the characters. Then you can make

80
00:02:45,200 --> 00:02:47,280
sense of the scene and you'll know which

81
00:02:47,280 --> 00:02:49,680
are the angles that you need to use in

82
00:02:49,680 --> 00:02:52,319
order to express the ideas that you're

83
00:02:52,319 --> 00:02:55,879
trying to come up with.

84
00:03:00,160 --> 00:03:02,239
Well, this scene is uh incredibly

85
00:03:02,239 --> 00:03:03,920
potent. My favorite scene in the movie.

86
00:03:03,920 --> 00:03:05,200
I think the most successful scene in the

87
00:03:05,200 --> 00:03:08,400
movie. Um, and it's a good example of an

88
00:03:08,400 --> 00:03:11,040
actor coming to the table and bringing

89
00:03:11,040 --> 00:03:12,720
something that is just magic that I

90
00:03:12,720 --> 00:03:14,239
don't touch. When I see something like

91
00:03:14,239 --> 00:03:16,000
that, it's a bolt of lightning. Uh, this

92
00:03:16,000 --> 00:03:18,000
actress, Emily me, wonderful actress,

93
00:03:18,000 --> 00:03:19,920
really brought this performance. The

94
00:03:19,920 --> 00:03:22,080
character is coming in. Her her

95
00:03:22,080 --> 00:03:26,239
boyfriend has uh has taken everybody

96
00:03:26,239 --> 00:03:29,360
hostage. She's eight months pregnant.

97
00:03:29,360 --> 00:03:30,959
And you think that she's going to talk

98
00:03:30,959 --> 00:03:32,879
him off the ledge and tell him why he

99
00:03:32,879 --> 00:03:34,400
needs to put the gun down and the bomb

100
00:03:34,400 --> 00:03:37,040
down and and come out and instead

101
00:03:37,040 --> 00:03:38,560
something else happens.

102
00:03:38,560 --> 00:03:42,519
One, two, two, take one.

103
00:03:47,599 --> 00:03:48,720
Action.

104
00:03:48,720 --> 00:03:51,360
Watch your step. Go ahead. Go ahead. Now

105
00:03:51,360 --> 00:03:53,360
you're going to look into that lens and

106
00:03:53,360 --> 00:03:55,680
he'll see you inside. And just remember,

107
00:03:55,680 --> 00:03:57,200
our only goal is to get him to put the

108
00:03:57,200 --> 00:03:59,920
weapon down and come out. Okay.

109
00:03:59,920 --> 00:04:02,920
All right.

110
00:04:09,200 --> 00:04:10,959
Kyle,

111
00:04:10,959 --> 00:04:14,360
are you there?

112
00:04:14,400 --> 00:04:15,120
What are you doing?

113
00:04:15,120 --> 00:04:17,359
K. Kyle.

114
00:04:17,359 --> 00:04:18,880
Kyle, can he see me?

115
00:04:18,880 --> 00:04:19,440
Yeah, he can.

116
00:04:19,440 --> 00:04:20,959
Can Can he see me through the

117
00:04:20,959 --> 00:04:22,800
Yeah, just look in the lens.

118
00:04:22,800 --> 00:04:24,479
Kyle.

119
00:04:24,479 --> 00:04:26,400
Kyle.

120
00:04:26,400 --> 00:04:30,639
Kyle. He's not Kyle.

121
00:04:30,639 --> 00:04:33,639
Kyle,

122
00:04:35,680 --> 00:04:39,360
what am I doing here? Kyle, what are you

123
00:04:39,360 --> 00:04:42,600
doing here?

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00:04:42,720 --> 00:04:44,479
God,

125
00:04:44,479 --> 00:04:47,840
you are the dumbest son of a [ __ ] on

126
00:04:47,840 --> 00:04:50,880
the planet. You know that? They told me

127
00:04:50,880 --> 00:04:54,400
about the money, Kyle. You are so

128
00:04:54,400 --> 00:04:57,759
[ __ ] stupid. That was everything we

129
00:04:57,759 --> 00:05:00,240
had. That was every last scent.

130
00:05:00,240 --> 00:05:03,440
You are such a [ __ ] failure, Kyle.

131
00:05:03,440 --> 00:05:06,160
You know that you have always been such

132
00:05:06,160 --> 00:05:08,479
a [ __ ] failure. You sat down in the

133
00:05:08,479 --> 00:05:09,919
basement all night reading your [ __ ]

134
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books thinking you were some kind of a

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smart guy, but you aren't. You [ __ ]

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aren't. And now you go and you do this.

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You blow all your mother's money like

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some kind of a halfway. And then you

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come in here with a [ __ ] bomb.

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Turn off Christ.

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You hardly even know how to use a

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screwdriver. That is how useless you are

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around the house. And now you're going

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and you're building [ __ ] bombs. And

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when did you become such a man all of a

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sudden? But you're not a man. You're a

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[ __ ] That's what you are. You hear me,

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Kyle? You are a [ __ ] You cry when we

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[ __ ] You pasty little [ __ ]

150
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Get the [ __ ] off of me, [ __ ] I

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am seven months pregnant. [ __ ] you. And

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[ __ ] you, too, Kyle. This is all your

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[ __ ] fault. Why don't you just shoot

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yourself in the head and get it over

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with already?

156
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Come on, you chicken [ __ ] Just pull the

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[ __ ] trigger. Pull the [ __ ] out of

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here.

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Emily me brought this performance to the

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table. And once we saw that, uh, we saw

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the truth of it. It all happened all at

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once, all direct to camera. Um, there

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was something so raw and so true about

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it. There's something wonderful about

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when she charges the camera and bits and

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pieces of her out of frame as if it

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can't contain her rage. Uh, it's

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wonderful how she was able to build the

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performance from not knowing what she's

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going to say to him to starting to

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insult him for it to rise and rise into

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this rage and finally telling him, "Pull

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the trigger. Kill yourself. Pull the

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trigger." On the other side, the

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reaction shot with Jack Oonnell is just

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one camera on a dolly moving slowly into

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his face. Um, he is seeing her at a

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certain point. the the plug gets pulled

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on Molly's rant and it goes dark. It

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goes black, but the audio is still

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going. So, when she starts calling him a

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[ __ ] and all of that kind of stuff, it

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goes black and he has to react just to

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her voice. Um, as an actor, sometimes

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you have the person off camera,

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sometimes you don't. Sometimes you have

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an X on a flag instead of a person, but

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you have to have that memory of the

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impact. And every single time uh that

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Jack H heard that performance, of

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course, it had an impact, but it never

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had the same impact as it had on take

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one the first time that he heard uh that

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rant. Uh you'll notice that there's an

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adlib in there where Jack says,

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"Don't touch her. Get your hands off

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her. Don't touch her." And there's

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something for me that's so moving about

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00:07:30,960 --> 00:07:32,880
that adlib because even though this

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woman is calling him a failure and is

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00:07:35,120 --> 00:07:36,800
telling him most horrible things about

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himself, the disappointment that he has

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in himself and and and and

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how how reviled she is in his eye in her

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eyes, he still wants to protect her

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because she's the mother of his child

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and she doesn't he doesn't want the

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police to hurt her.

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Kyle.

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00:07:52,319 --> 00:07:56,800
Yeah. What are you doing here?

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00:07:56,800 --> 00:07:58,000
What am I doing here?

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00:07:58,000 --> 00:07:58,560
Yeah,

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Kyle,

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what are you doing here?

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I thought you were working today. I

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What?

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00:08:05,680 --> 00:08:09,039
You are the dumbest son of a [ __ ] on

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the planet. You know that? They told me

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00:08:12,080 --> 00:08:15,520
about the money, Kyle. You are so

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00:08:15,520 --> 00:08:18,879
[ __ ] stupid. That was everything we

221
00:08:18,879 --> 00:08:21,440
had. That was every last scent.

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You are such a [ __ ] failure, Kyle.

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00:08:24,560 --> 00:08:27,280
You know that you have always been such

224
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a [ __ ] failure. You sat down in the

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00:08:29,680 --> 00:08:31,120
basement all night reading your [ __ ]

226
00:08:31,120 --> 00:08:32,640
books thinking you were some kind of a

227
00:08:32,640 --> 00:08:35,200
smart guy, but you aren't. You [ __ ]

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00:08:35,200 --> 00:08:37,760
aren't. And now you go and you do this.

229
00:08:37,760 --> 00:08:39,120
You blow all your mother's money like

230
00:08:39,120 --> 00:08:40,479
some kind of a halfway. And then you

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come in here with a [ __ ] bomb.

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Turn off.

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00:08:43,519 --> 00:08:44,959
You hardly even know how to use a

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00:08:44,959 --> 00:08:46,880
screwdriver. That is how useless you are

235
00:08:46,880 --> 00:08:48,240
on the house. And now you're going and

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00:08:48,240 --> 00:08:49,440
you're building [ __ ] bombs. And when

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00:08:49,440 --> 00:08:50,800
did you become such a man all of a

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sudden?

239
00:08:51,760 --> 00:08:54,560
But you're not a man. You're a [ __ ]

240
00:08:54,560 --> 00:08:56,480
That's what you are. You hear me, Kyle?

241
00:08:56,480 --> 00:08:59,519
You are a [ __ ] You cry when we [ __ ]

242
00:08:59,519 --> 00:09:02,320
You pasty little [ __ ]

243
00:09:02,320 --> 00:09:04,000
Get the [ __ ] off of me, [ __ ]

244
00:09:04,000 --> 00:09:07,200
Don't you [ __ ] [ __ ] you and [ __ ] you,

245
00:09:07,200 --> 00:09:09,120
too, Kyle. This is all your [ __ ]

246
00:09:09,120 --> 00:09:10,880
fault. Why don't you just shoot yourself

247
00:09:10,880 --> 00:09:12,240
in the head and get it over with

248
00:09:12,240 --> 00:09:14,560
already? Come on, you chicken [ __ ] Just

249
00:09:14,560 --> 00:09:16,640
pull the [ __ ] trigger. Pull the

250
00:09:16,640 --> 00:09:18,959
[ __ ] trigger.

251
00:09:18,959 --> 00:09:21,680
The beauty of Jack's reaction shot is

252
00:09:21,680 --> 00:09:25,040
that it changes. Uh he starts out

253
00:09:25,040 --> 00:09:26,560
hearing the words and having it wash

254
00:09:26,560 --> 00:09:30,480
over him. It paralyzes him. It makes him

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00:09:30,480 --> 00:09:34,880
go back to memories of perhaps of how he

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00:09:34,880 --> 00:09:37,680
does deserve this

257
00:09:37,680 --> 00:09:41,920
this this feeling of failure. Um and

258
00:09:41,920 --> 00:09:45,920
then there is a kind of resignation. Um

259
00:09:45,920 --> 00:09:47,680
he we we go through the part where he

260
00:09:47,680 --> 00:09:48,880
protects her and wants to protect her

261
00:09:48,880 --> 00:09:50,560
from the police and then there's this

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00:09:50,560 --> 00:09:54,000
resignation. Uh at the end uh George

263
00:09:54,000 --> 00:09:55,760
Clooney comes towards him and tries to

264
00:09:55,760 --> 00:09:57,279
move the cameras away to give him more

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00:09:57,279 --> 00:09:58,800
space because George Clooney's character

266
00:09:58,800 --> 00:10:00,720
of course doesn't want him to not take

267
00:10:00,720 --> 00:10:02,320
his finger off the button and blow

268
00:10:02,320 --> 00:10:06,399
everybody up um and ushers him over to a

269
00:10:06,399 --> 00:10:09,600
chair uh to sit down, get a get a glass

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00:10:09,600 --> 00:10:12,480
of water and to have some have a breath.

271
00:10:12,480 --> 00:10:14,480
And um there's something so generous

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00:10:14,480 --> 00:10:17,519
about that moment where suddenly uh Lee

273
00:10:17,519 --> 00:10:19,760
George Clooney's character realizes that

274
00:10:19,760 --> 00:10:21,360
this man is just a human being. He's

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00:10:21,360 --> 00:10:26,320
just a kid. And he understands that

276
00:10:26,320 --> 00:10:28,399
uh Kyle is a failure, feels like a

277
00:10:28,399 --> 00:10:30,240
failure just like George Clooney's

278
00:10:30,240 --> 00:10:31,760
character feels like a failure. And that

279
00:10:31,760 --> 00:10:33,600
really is their moment of connection

280
00:10:33,600 --> 00:10:36,079
where uh the two men go from being

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00:10:36,079 --> 00:10:38,959
adversaries to being mirrors of the same

282
00:10:38,959 --> 00:10:41,279
man. In this example that I've given,

283
00:10:41,279 --> 00:10:43,839
you have two first take performances,

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00:10:43,839 --> 00:10:45,920
two raw first take performances of

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00:10:45,920 --> 00:10:47,680
people that are relating directly to

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00:10:47,680 --> 00:10:49,760
each other. So, we're experiencing

287
00:10:49,760 --> 00:10:52,880
something incredibly intimate.

288
00:10:52,880 --> 00:10:55,440
Strangely more intimate, because when

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00:10:55,440 --> 00:10:58,000
you see somebody on a TV screen and

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00:10:58,000 --> 00:11:00,800
their face is this big, you're strangely

291
00:11:00,800 --> 00:11:03,120
more close than you might be if they

292
00:11:03,120 --> 00:11:06,560
were standing 5t away and right next to

293
00:11:06,560 --> 00:11:08,959
you. Um, so there's that deathly kind of

294
00:11:08,959 --> 00:11:11,600
intimacy between Jack's character,

295
00:11:11,600 --> 00:11:14,480
between Molly and Kyle. Now, we're going

296
00:11:14,480 --> 00:11:17,360
to add in all the other people that are

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00:11:17,360 --> 00:11:19,440
witnessing this moment. And if you've

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00:11:19,440 --> 00:11:21,760
ever been a failure or felt that you

299
00:11:21,760 --> 00:11:23,200
were a failure, the worst kind of

300
00:11:23,200 --> 00:11:25,120
failure is when you're a failure in

301
00:11:25,120 --> 00:11:27,200
front of millions and millions of

302
00:11:27,200 --> 00:11:29,200
people, potentially billions of people

303
00:11:29,200 --> 00:11:30,959
on the planet. All of them watching this

304
00:11:30,959 --> 00:11:34,480
one event in real time. So, we had to be

305
00:11:34,480 --> 00:11:36,560
very careful about how we brought in the

306
00:11:36,560 --> 00:11:40,160
rest of the world. So, Molly and Kyle

307
00:11:40,160 --> 00:11:42,560
may be having this intimate experience,

308
00:11:42,560 --> 00:11:44,399
but there are people in a coffee shop in

309
00:11:44,399 --> 00:11:49,360
Brooklyn or in a tire store in in in

310
00:11:49,360 --> 00:11:52,880
uh in Queens or somewhere halfway around

311
00:11:52,880 --> 00:11:55,040
the world where they're also

312
00:11:55,040 --> 00:11:57,519
experiencing this and they're reveling

313
00:11:57,519 --> 00:12:00,480
in it. um they're

314
00:12:00,480 --> 00:12:03,279
maybe wincing because maybe they've felt

315
00:12:03,279 --> 00:12:05,519
that way in their life or they've had

316
00:12:05,519 --> 00:12:07,279
somebody yell at them like that or

317
00:12:07,279 --> 00:12:09,200
they're scared that the button might get

318
00:12:09,200 --> 00:12:12,240
pressed or they're laughing through it.

319
00:12:12,240 --> 00:12:15,040
Um public humiliation is unlike anything

320
00:12:15,040 --> 00:12:16,880
else. It's very different than the kind

321
00:12:16,880 --> 00:12:18,399
of humiliation that two people have

322
00:12:18,399 --> 00:12:20,720
together. And I wanted to make sure that

323
00:12:20,720 --> 00:12:23,680
we built the tension of that moment by

324
00:12:23,680 --> 00:12:26,000
using the world as well and the idea of

325
00:12:26,000 --> 00:12:28,079
public humiliation.

326
00:12:28,079 --> 00:12:31,360
You are such a [ __ ] failure, Kyle.

327
00:12:31,360 --> 00:12:34,079
You know that you have always been such

328
00:12:34,079 --> 00:12:36,399
a [ __ ] failure. You sat down in the

329
00:12:36,399 --> 00:12:37,839
basement all night reading your [ __ ]

330
00:12:37,839 --> 00:12:39,440
books thinking you were some kind of a

331
00:12:39,440 --> 00:12:41,920
smart guy, but you aren't. You [ __ ]

332
00:12:41,920 --> 00:12:44,560
aren't. And now you go and you do this.

333
00:12:44,560 --> 00:12:45,839
You blow all your mother's money like

334
00:12:45,839 --> 00:12:47,200
some kind of a halfway. And then you

335
00:12:47,200 --> 00:12:49,680
come in here with a [ __ ] bomb.

336
00:12:49,680 --> 00:12:50,399
Turn off.

337
00:12:50,399 --> 00:12:51,680
You hardly even know how to use a

338
00:12:51,680 --> 00:12:53,600
screwdriver. That is how useless you are

339
00:12:53,600 --> 00:12:54,800
around the house. And now you're going

340
00:12:54,800 --> 00:12:56,320
and you're building [ __ ] bombs. since

341
00:12:56,320 --> 00:12:58,480
you become such a man all of a sudden.

342
00:12:58,480 --> 00:13:01,360
But you're not a man. You're a [ __ ]

343
00:13:01,360 --> 00:13:03,279
That's what you are. You hear me, Kyle?

344
00:13:03,279 --> 00:13:06,320
You are a [ __ ] You cry when we [ __ ]

345
00:13:06,320 --> 00:13:09,839
You pasty little [ __ ]

346
00:13:09,839 --> 00:13:12,560
Get the [ __ ] off me, [ __ ] I'm

347
00:13:12,560 --> 00:13:15,519
trying to [ __ ] you. And [ __ ] you, too,

348
00:13:15,519 --> 00:13:18,399
Kyle. This is all your [ __ ] fault.

349
00:13:18,399 --> 00:13:20,000
Why don't you just get it over with and

350
00:13:20,000 --> 00:13:21,600
shoot yourself in the head already, you

351
00:13:21,600 --> 00:13:23,839
chicken [ __ ] Come on, just pull the

352
00:13:23,839 --> 00:13:28,519
[ __ ] trigger. follow the [ __ ]

353
00:13:29,680 --> 00:13:32,000
editing decisions about where we should

354
00:13:32,000 --> 00:13:33,760
be at any one given moment. You know,

355
00:13:33,760 --> 00:13:35,440
how we should present these series of

356
00:13:35,440 --> 00:13:38,399
shots. Um, each choice that you make is

357
00:13:38,399 --> 00:13:41,519
meaningful and it's a long process of

358
00:13:41,519 --> 00:13:44,959
figuring out how each decision that you

359
00:13:44,959 --> 00:13:46,959
make might change the impact on the

360
00:13:46,959 --> 00:13:49,279
audience or the feeling for the story.

361
00:13:49,279 --> 00:13:50,800
Um,

362
00:13:50,800 --> 00:13:52,880
you can make a very strong choice, for

363
00:13:52,880 --> 00:13:55,279
example, of having a having a very

364
00:13:55,279 --> 00:13:56,959
moving scene where you're on one wide

365
00:13:56,959 --> 00:14:00,480
shot and you never leave. Uh, you don't

366
00:14:00,480 --> 00:14:02,959
cut to other uh pieces of coverage. And

367
00:14:02,959 --> 00:14:04,399
there's something very powerful that

368
00:14:04,399 --> 00:14:07,120
happens with that. There's a um a

369
00:14:07,120 --> 00:14:09,519
loneliness about that where the image

370
00:14:09,519 --> 00:14:12,000
itself has to tell the story. Uh there's

371
00:14:12,000 --> 00:14:13,120
something it almost looks like a

372
00:14:13,120 --> 00:14:14,639
painting. And it looks like the way a

373
00:14:14,639 --> 00:14:16,240
Renaissance painting might be sort of a

374
00:14:16,240 --> 00:14:18,720
widescreen caravio where we have the

375
00:14:18,720 --> 00:14:20,560
characters that are all placed in this

376
00:14:20,560 --> 00:14:24,560
landscape and there is a distance

377
00:14:24,560 --> 00:14:26,959
between the audience and the characters.

378
00:14:26,959 --> 00:14:30,399
We do that intentionally. In this case,

379
00:14:30,399 --> 00:14:33,519
uh, in Money Monster, there is a a

380
00:14:33,519 --> 00:14:35,040
question in the movie about about how

381
00:14:35,040 --> 00:14:37,040
it's fast, how everything's fast and how

382
00:14:37,040 --> 00:14:39,199
we're all connected. And there's

383
00:14:39,199 --> 00:14:41,120
something about this connectivity and

384
00:14:41,120 --> 00:14:43,920
all this access and all this modern

385
00:14:43,920 --> 00:14:47,680
technology where that's quite violent

386
00:14:47,680 --> 00:14:50,560
and where something that is a private

387
00:14:50,560 --> 00:14:53,199
shame becomes a public shame

388
00:14:53,199 --> 00:14:56,320
immediately. Uh where it's impossible to

389
00:14:56,320 --> 00:14:58,560
understand who you really are because

390
00:14:58,560 --> 00:15:01,920
you're refracted in all these millions

391
00:15:01,920 --> 00:15:03,760
of different directions. I mean that was

392
00:15:03,760 --> 00:15:06,480
one of the bigger ideas in the film and

393
00:15:06,480 --> 00:15:08,560
it's something that also is executed in

394
00:15:08,560 --> 00:15:12,399
the cutting style and how we see an

395
00:15:12,399 --> 00:15:13,600
experience that should be happening

396
00:15:13,600 --> 00:15:15,760
between two people but we also have to

397
00:15:15,760 --> 00:15:17,199
see the impact it has on the whole

398
00:15:17,199 --> 00:15:21,279
world. Every film requires uh a

399
00:15:21,279 --> 00:15:22,560
different you have to have a different

400
00:15:22,560 --> 00:15:24,000
pair of eyes for every film. It's a

401
00:15:24,000 --> 00:15:25,760
different story. It needs a different

402
00:15:25,760 --> 00:15:27,120
cinematographer. It needs a different

403
00:15:27,120 --> 00:15:29,519
cast, a different location. In this

404
00:15:29,519 --> 00:15:31,920
case, in the case of Money Monster, um

405
00:15:31,920 --> 00:15:34,320
the editing style is a is is a sort of

406
00:15:34,320 --> 00:15:36,560
quick cutting editing style until we

407
00:15:36,560 --> 00:15:38,720
land on scenes between two people and

408
00:15:38,720 --> 00:15:41,040
then we allow themselves to sort of to

409
00:15:41,040 --> 00:15:42,959
really almost play like a play, like a

410
00:15:42,959 --> 00:15:46,959
theater. Um I think it's always helpful

411
00:15:46,959 --> 00:15:48,720
to start when you're going to make a

412
00:15:48,720 --> 00:15:50,880
decision about how I cut this scene is

413
00:15:50,880 --> 00:15:54,000
to start with the characters to say, you

414
00:15:54,000 --> 00:15:56,000
know, who are they? Who are they in this

415
00:15:56,000 --> 00:15:57,920
moment? What are they feeling? and how

416
00:15:57,920 --> 00:16:00,480
do I want to feel through them and

417
00:16:00,480 --> 00:16:02,720
through their bodies? Understanding what

418
00:16:02,720 --> 00:16:04,720
is your point of view? Is your point of

419
00:16:04,720 --> 00:16:07,680
view uh Kyle's point of view? Is your

420
00:16:07,680 --> 00:16:09,759
point of view uh Lee's point of view?

421
00:16:09,759 --> 00:16:11,440
You know, establishing who your point of

422
00:16:11,440 --> 00:16:13,360
view is in the scene and and in fact in

423
00:16:13,360 --> 00:16:15,680
the movie and then having the editing

424
00:16:15,680 --> 00:16:19,480
process reflect that.

425
00:16:23,199 --> 00:16:26,079
in the cutting room. There's uh a lot of

426
00:16:26,079 --> 00:16:28,639
adventures in figuring out when to hold

427
00:16:28,639 --> 00:16:31,279
them and when to fold them of what you

428
00:16:31,279 --> 00:16:34,880
hold on to in terms of uh the vision of

429
00:16:34,880 --> 00:16:36,800
your film, in terms of the edit, and

430
00:16:36,800 --> 00:16:39,920
what you acquies to. Um

431
00:16:39,920 --> 00:16:42,639
that's a tough one. uh in in in the best

432
00:16:42,639 --> 00:16:45,440
possible world, you end the process

433
00:16:45,440 --> 00:16:47,279
feeling like you made exactly the film

434
00:16:47,279 --> 00:16:49,519
that you were hoping to make and that

435
00:16:49,519 --> 00:16:51,759
none of the cuts that you made were

436
00:16:51,759 --> 00:16:53,839
sacrifices that they were really made

437
00:16:53,839 --> 00:16:56,639
the film better. And for the most part,

438
00:16:56,639 --> 00:16:57,839
um you know, a lot most of my

439
00:16:57,839 --> 00:16:59,120
experiences have been that way, but I

440
00:16:59,120 --> 00:17:01,360
have also had other experiences as well.

441
00:17:01,360 --> 00:17:04,640
And it can be very demoralizing. Um

442
00:17:04,640 --> 00:17:07,039
there's there's nothing like the how you

443
00:17:07,039 --> 00:17:09,679
doubt yourself and how painful a process

444
00:17:09,679 --> 00:17:11,280
it is as being in the cutting room and

445
00:17:11,280 --> 00:17:12,559
knowing that you see something that

446
00:17:12,559 --> 00:17:14,400
other people don't see. I highly

447
00:17:14,400 --> 00:17:17,439
recommend uh bringing in people that uh

448
00:17:17,439 --> 00:17:19,839
we call them friend screenings. Uh I

449
00:17:19,839 --> 00:17:21,360
call them someone else's friend

450
00:17:21,360 --> 00:17:23,439
screenings cuz I've learned that I don't

451
00:17:23,439 --> 00:17:24,720
want my friends to be at the friend

452
00:17:24,720 --> 00:17:26,480
screening uh the first friend screening.

453
00:17:26,480 --> 00:17:28,079
I prefer it to be a stranger who's in

454
00:17:28,079 --> 00:17:30,320
the film business who's able to very

455
00:17:30,320 --> 00:17:32,240
quietly take you aside and be supportive

456
00:17:32,240 --> 00:17:34,960
and say um I don't know I think the

457
00:17:34,960 --> 00:17:37,280
pacing might be off in this section or

458
00:17:37,280 --> 00:17:39,280
uh just just the big things you pacing

459
00:17:39,280 --> 00:17:42,000
is off or I didn't understand what that

460
00:17:42,000 --> 00:17:44,400
character was saying or he yelled a lot

461
00:17:44,400 --> 00:17:46,160
is there is that that's a problem for me

462
00:17:46,160 --> 00:17:48,000
I tuned off because he was yelling a lot

463
00:17:48,000 --> 00:17:49,840
really listen to people um I think

464
00:17:49,840 --> 00:17:52,960
especially writers uh writers and other

465
00:17:52,960 --> 00:17:54,799
editors because those are people who

466
00:17:54,799 --> 00:17:56,720
know how to not just tell you what your

467
00:17:56,720 --> 00:17:59,039
problems are, but they know how to help

468
00:17:59,039 --> 00:18:01,760
you find solutions to be able to fix

469
00:18:01,760 --> 00:18:04,240
those problems or ameliate those

470
00:18:04,240 --> 00:18:06,080
problems or maybe turn those problems

471
00:18:06,080 --> 00:18:08,640
into your strengths.

1
00:00:06,400 --> 00:00:08,320
There's an unending amount of things to

2
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talk about about the film business. Um,

3
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the world that I'm completely fascinated

4
00:00:12,480 --> 00:00:13,840
by. Uh, the one thing that we haven't

5
00:00:13,840 --> 00:00:16,000
touched on is music and what music

6
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brings to the film. Uh, for me it's my

7
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favorite part of the process because

8
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it's the place where you finally at the

9
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end of all of your trials and

10
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tribulations and you finally created

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this monster made with glue and scotch

12
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tape and and that has all of these, you

13
00:00:30,000 --> 00:00:32,719
know, sewing marks on it and scars. Um,

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the music is the thing that erases all

15
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the seams. Uh, it's the thing that turns

16
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and that allows this organic being, this

17
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movie that you've created to suddenly

18
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have lifeblood that it walks and talks

19
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away from you and becomes its own

20
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entity. Um, I've used m music

21
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differently in many of my movies. I tend

22
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to be drawn to music that is really

23
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grounded and that feels real. Uh that

24
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being said, Money Monster, a film that

25
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deals a lot with technology and digital

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age and computer high frequency trading

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and things that are very modern, fast,

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fast, fast, we did use a, you know, a

29
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much more computerheavy uh feeling to

30
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it. Sometimes the music comes out of the

31
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characters deeper processes. Um

32
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you know, if you're making a movie about

33
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um you know, an organ grinder, you know,

34
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you don't necessarily have to have an

35
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organ grinder be the music. You know,

36
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you can choose something different. In

37
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fact, it might be more interesting if

38
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you chose something different. Um, it

39
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doesn't need to be a a direct uh literal

40
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communication with the character, but

41
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there's something inwardly evocative

42
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about the music. Um, I I do like the

43
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music to erase the seams. Uh, perhaps

44
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for a prologue, we might use something

45
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bold like the tango um or the Ella

46
00:01:44,159 --> 00:01:46,880
Fitzgerald song in Little Man Tate. Um

47
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uh but for the rest of the movie, I I

48
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really like the music to not just stand

49
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out and say, "Look at me." I like the

50
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music to

51
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uh to really form the edges, you know,

52
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and to uh use the character's own

53
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momentum um and not to over overshadow

54
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them or overplay them.

55
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In some cases, you know, the the musical

56
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arc, the arc of the music is is really a

57
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reflection of the characters arc and

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where they've come from. Um, I think

59
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about a little bit about the score for

60
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Little Man Tate, one that I'm very proud

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of. It was Mark Aisham, the great dra

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jazz trumpeteer and and composer. Um,

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when I think of the character of Fred

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Tate, you know, I think of a lonely

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piano. um he is a piano prodigy in the

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movie and so we knew that there was

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going to be a lot of piano in it. It

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also has a feeling of sort of a young

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lonely person but it also has a

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classical edge to it so it's somewhat

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cerebral cerebral and of the heart at

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the same time. uh the character of uh

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Diane Wuest um she was a violinist in

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the film that she had been a violinist

75
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as a child and so uh that brought the

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violin into it and that there's a a very

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strained and classical structured uh

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quality to her almost atonal and

79
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cerebral to her and then there's Deei

80
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the character that I play the mom um

81
00:03:09,440 --> 00:03:11,840
she's a dancer and that's really uh you

82
00:03:11,840 --> 00:03:13,120
know she's somebody who loves to dance

83
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and she dances with her son and as you

84
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know I have this emotional relationship

85
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to dance there's something about it that

86
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makes me nuts I love it Um, and it came

87
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to me uh in a moment that the the a

88
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unifying musical uh idea would be the

89
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idea of jazz. Um, jazz is played by six

90
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guys in a room and it sounds like six or

91
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seven guys in a room. So, it really

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00:03:35,920 --> 00:03:37,840
sounds like you're there. And for a

93
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person like Fred Tate who doesn't have a

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family, uh people who who are just like

95
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him, he feels alone and solitary, this

96
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movie is about bringing together a jazz

97
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band for him. Uh he finally belongs to a

98
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group of oddballs and um so the jazz

99
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music in the film uh evolves from the

100
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beginning to the end. It starts with a

101
00:04:00,319 --> 00:04:02,159
kind of a nostalgic. It starts with an

102
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eleph song. Then it evolves into a kind

103
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of a big band feeling and then it

104
00:04:07,200 --> 00:04:09,360
becomes this lonely piano. Then we add

105
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the violin to that and there's this kind

106
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of antagonism between the violin and the

107
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piano. But that's that's a cerebral

108
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antagonism. And then we kind of bring

109
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all of those influences together from

110
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the French jazz band to, you know, the

111
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violin uh jazz, you know, violin and

112
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piano together to this final

113
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amalgamation where he's finally he's got

114
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this family. He's got this jazz band

115
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family. Um uh that reminded me a lot of

116
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uh French films from the New Wave

117
00:04:37,199 --> 00:04:40,000
movement in the 1960s in France. uh

118
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films like, you know, Murmur the Heart

119
00:04:41,520 --> 00:04:43,120
and The 400 Blows and other films that

120
00:04:43,120 --> 00:04:45,440
you might remember um that use jazz to

121
00:04:45,440 --> 00:04:47,600
that effect. The idea of building a band

122
00:04:47,600 --> 00:04:51,040
does direct uh is directly related to to

123
00:04:51,040 --> 00:04:54,160
Fred's big idea about loneliness. you

124
00:04:54,160 --> 00:04:55,600
know, the the the thing that I'm so

125
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interested in about his this lonely

126
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character that believes that he has to

127
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choose between his head and his heart,

128
00:05:00,240 --> 00:05:01,759
that he has to choose between his mother

129
00:05:01,759 --> 00:05:03,759
and his his teacher, that he has to

130
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choose between the part of him that's a

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jazz pianist and the part of him that's,

132
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you know, a lonely jazz pianist and the

133
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part of him that wants to dance.

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I definitely couldn't figure out the

135
00:05:18,560 --> 00:05:20,479
music on the Beaver until way at the end

136
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of the process. And um you know we had

137
00:05:23,600 --> 00:05:25,440
some fumbles and it just wasn't working.

138
00:05:25,440 --> 00:05:28,160
And uh I finally met Marcela Zarvos and

139
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the night before it I I don't know I

140
00:05:29,919 --> 00:05:32,880
just had an epiphany. I was I I

141
00:05:32,880 --> 00:05:37,919
just I had this record of um Yoyo Ma uh

142
00:05:37,919 --> 00:05:40,960
doing Pzola. Uh so the sort of famous

143
00:05:40,960 --> 00:05:43,600
Argentinian kind of like tango but movie

144
00:05:43,600 --> 00:05:46,160
music. And um I played that and I

145
00:05:46,160 --> 00:05:49,600
thought like the tango I mean that's an

146
00:05:49,600 --> 00:05:51,680
amazing idea. That whole first part of

147
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the movie is this big long prologue that

148
00:05:53,759 --> 00:05:56,080
goes on and on. The film is about a man

149
00:05:56,080 --> 00:05:58,080
who's waring with himself. You know,

150
00:05:58,080 --> 00:05:59,520
he's waring with himself. He's

151
00:05:59,520 --> 00:06:01,440
destroying himself. And there was

152
00:06:01,440 --> 00:06:03,680
something so weird and quirky about

153
00:06:03,680 --> 00:06:05,520
having this tango in the beginning of

154
00:06:05,520 --> 00:06:08,080
the movie. Um, and what we found too,

155
00:06:08,080 --> 00:06:09,520
because it's such a long piece that has

156
00:06:09,520 --> 00:06:11,919
to play is that the tango is repetitive,

157
00:06:11,919 --> 00:06:14,639
right? Repeats over and over and over

158
00:06:14,639 --> 00:06:16,880
again. So what Marcelo was able to do

159
00:06:16,880 --> 00:06:19,280
was to use the tango so that it starts

160
00:06:19,280 --> 00:06:20,560
with one instrument and then it moves

161
00:06:20,560 --> 00:06:21,919
into another set of instruments and then

162
00:06:21,919 --> 00:06:23,360
another set of instruments. So that this

163
00:06:23,360 --> 00:06:25,440
tango may be repetitive but it keeps

164
00:06:25,440 --> 00:06:27,759
changing and changing and changing. So

165
00:06:27,759 --> 00:06:29,360
kind of in the same way that a dance

166
00:06:29,360 --> 00:06:31,280
might change. The crazy thing about

167
00:06:31,280 --> 00:06:33,520
applying music to your movie is that you

168
00:06:33,520 --> 00:06:35,680
just never know what is the right music

169
00:06:35,680 --> 00:06:37,759
until you finally see your film. uh you

170
00:06:37,759 --> 00:06:39,199
can pretend to know, you can say you're

171
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going to know, you can have lists, you

172
00:06:41,360 --> 00:06:43,120
can organize it, you can prepare, but

173
00:06:43,120 --> 00:06:44,639
you just never really know until the

174
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film uh is in your hands, until you're

175
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in

1
00:00:12,160 --> 00:00:13,519
You know, I always say it's interesting.

2
00:00:13,519 --> 00:00:14,960
I've been in the business for 50ome

3
00:00:14,960 --> 00:00:17,520
years and um I've only made one movie

4
00:00:17,520 --> 00:00:20,400
with a female director. Uh when I first

5
00:00:20,400 --> 00:00:22,320
started making films and television

6
00:00:22,320 --> 00:00:24,080
commercials, I never saw another woman's

7
00:00:24,080 --> 00:00:25,519
face. Occasionally I would see a script

8
00:00:25,519 --> 00:00:26,880
supervisor or maybe there was a makeup

9
00:00:26,880 --> 00:00:28,880
and hair artist, but other than that it

10
00:00:28,880 --> 00:00:30,640
was just me and a bunch of guys. That

11
00:00:30,640 --> 00:00:32,079
was the world that we lived in. We

12
00:00:32,079 --> 00:00:33,840
didn't know any better. That's just how

13
00:00:33,840 --> 00:00:36,079
it was. Uh little by little things

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changed. More technicians came into the

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fold. You know, you might see one

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technician come in and then little by

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little more technicians came up and then

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you know maybe writers or producers and

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then suddenly there were studio heads

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that were women. But interestingly that

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didn't change the landscaped of women

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directors. Um at least in America the

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indie world they started creeping in.

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Television they started creeping in but

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for some reason women really had a hard

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time cracking mainstream movies. I mean

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mainstream distributed films. Um that is

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all changing. Um we understand the

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reasons why psychologically I think uh

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it was difficult uh for the change to

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happen. I don't think it was a plot of

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some kind that people were trying to

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keep us down and keep us out of the

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director role. I think that it was

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difficult for people in power, men and

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women, to conceive of women as more than

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just a risk. I think they saw inherently

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the choice of a woman director in a

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leadership role as a risk they were

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taking. Not really quite sure why women

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were more of a risk than men, but I

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think that was just the internalized

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prejudice. um now that there's an

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awareness about that that is really

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shifting. Um I'm really proud to have

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been part of uh the few uh women in the

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business in my era. Um and I have to say

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I was given that opportunity because um

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people knew me as an actor and um these

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old guys, these wonderful grandfather

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and father figures uh pointed at me and

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said, "You're my prodigal daughter. I

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trust you. I know you. you said you were

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going to come at 8:45 and you arrived at

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8:45 and I trust that you're going to

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bring that movie in on time and I trust

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that you have a vision and that you can

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communicate yourself and that you're one

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of us and I was given opportunities that

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other women were not given and um I'm

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grateful for that but I also understand

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that I have uh I have a lot to give back

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and I really want to encourage women to

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become directors and to assume their

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rightful leadership roles for the next

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generation of women filmmakers out there

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if it's you um I you know hope that this

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is a a more fertile place and time for

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you and for your stories. Um, but I also

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know that um, you know, this is a a

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community. It's a community of brothers

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and fathers as well who are waiting for

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your input, who are waiting for your

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influence. Um, I was lucky. I had

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amazing fathers and brothers in this

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industry. And I was a girl who was

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raised without a dad. So, I have a very

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fonding for these men that uh, taught me

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everything that they knew, who believed

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in me and brought me up in this

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business. and um who made me feel like I

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was one of them. And uh I think that

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that that's the lesson to be learned is

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that um you know we all can extend our

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hands and want to be a community, a

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community of people that look different

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and have different stories to tell and

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can collaborate with each other.

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The process of making a movie is like

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putting all this stuff, all the stuff,

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the history that you came from, your

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relationship with your parents, um the

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first time you fell in love, the

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paintings that you love, uh how you feel

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about the movie. You put it all on a uh

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like an arrow and you try to shoot it

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out as straight as possible to whether

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it's to the audience or to uh people

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that you don't know, strangers out

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there. And it's possible that that arrow

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goes directly outwards and that you

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connect completely 100% with that other

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person. But what's most likely is that

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there's a trajectory um that it gets

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moved around by air. It isn't a direct

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path and they can only the subset in

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between this area in between

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understanding where I connect with you

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is completely imperfect. We're just

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trying to communicate ourselves better.

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Sometimes we get there, sometimes we

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don't. Sometimes the result works,

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sometimes the result doesn't work. But

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the process of wanting more of me to hit

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more of you is really what film making

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is about. One of the things that I'm

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hoping for you is that you'll just do

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it. There's a lot of worry and anxiety

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that goes into film making of saying,

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you know, will what I have to say, is it

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worth it? Will people like it? Will

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people think it's interesting? Will they

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think it's meaningful? Will it be

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relevant? most important thing is to

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just do it. Is to get it out and to get

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it on screen, on tape, on YouTube,

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whatever it takes to have experience

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with making it come from you to the

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screen.