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I think it's important
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for a director to know something about acting
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it's good if he or she gets in front of the camera
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and fails miserably
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and then succeeds a little bit
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and it gets really important to know what it's like
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to hit the light
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to make sure you're there
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and to make sure you're there
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for the other actor to respond
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to get a sense of how you walk across a room
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because you can become very self conscious
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what you do with your hands you know
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it's always good every
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after certain period of time
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for you to get in front of that camera
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to play a part
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or somebody else's film
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be directed by other people
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or any bits and pieces
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even if you're playing yourself um I mean
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I'm not saying you should read all of Stanislavsky
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or play Kowalski or Cordelia but it's
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it's good to know something about the challenges
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and the fears that the actors face
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and the techniques they use
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and the different approaches they take to what they do
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cause again
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I'm looking for the
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the connection that sparked between us
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sometimes it proves to be more difficult on set
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with certain actors than you might have realized
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and every once in a while
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just doesn't work out
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and you're somewhat disappointed
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you might get something else
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uh you may not even like that something else
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but it's enough for that moment
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and you realize okay
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in the future
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I had to be careful of this
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or that I may not always work
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um so you do work with what you get
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ultimately you know
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and that's a rule
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I guess in filmmaking
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or many things
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but you may want one thing
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but you're gonna
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through circumstances
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whatever you wind up with other things
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and that has to do with the actors
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so hopefully
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you want what you get and this
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the spark of humanity is the key with the actors
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I guess the term director is misleading sometimes
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when it comes to actors
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of course in one sense
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it's on target
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I mean I could not think about working on stage
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or utilizing techniques
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by directors who have gone through certain methods
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I wouldn't know
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one thing I mean
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I would think
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in a raw situation
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actor at least needs
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needs the director to kind of do
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orient him or her
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because I mean
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you always gonna be shooting out a sequence
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that's one of the problems
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and they're going to look to you to
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you know tell them where they are in the story
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and where they're feeling emotionally
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it's a very difficult thing
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I think we have the training of a director
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a training of directors worked in theater
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it might be never easy
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but at least you might be more familiar with it
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for me I was finding rather difficult
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but this is where you work together
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but on the other hand
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they also need to explore
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and I always tell
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I like to tell the actors to particularly try anything
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you know um
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and if you had the time on set
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which you don't usually
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but if you do
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if you make the time
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have the time to fail as much as you can
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and tell him it's okay
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just go ahead
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try this try that
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and you need that freedom
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you need to give them that freedom
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particularly
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you can do this in the rehearsal
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there's no mistake
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you just go
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you do it and explore the instincts
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and then you try to shape from there
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in discussion
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if something is gone in a different direction
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I don't wanna say gone wrong
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but there's something on a different direction
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where people don't agree or something
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and it's like
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you find yourself
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you can cover it in such a way
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and you never
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at times I must say
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you have to be careful
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you you know
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sometimes you think something is dreadfully wrong
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and later when you look it in the context of cut
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my work you know
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there are things I know don't work immediately
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but you shoot them
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to shoot them
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because it's a process for the actor to go through that
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and if I say no
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you can't do that
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I found when I did that
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it threw certain kinds of actors off
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not all not all
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but certain kinds and um
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I found that
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um it's best to uh
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let that person
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he or she work it out
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and if it's a matter of shooting it
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by the time you're discussing
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you could shoot it
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then you use it or not
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I think in terms of
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being able to work with Genero in eight movies or so
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and DiCaprio so far in five
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I mean again
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it's all based on a similar experience
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life experience
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and a similar way of looking at life then
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in the case what in the case of Genero he did actually
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he was actually part of the neighborhood
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I was growing up in at the same time
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so he knows the world
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he knows the the
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the codes of that area
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he knows the behavior
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he knows the culture
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you know DiCaprio
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something else with 30 years difference
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yet his instincts
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are very similar
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and his curiosity is very similar to mine
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and the ability to take chances
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not be afraid is something that
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it is remarkable
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and feel comfortable
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this all goes to the way of trust
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trusting each other you see
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so when you trust that way
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and we have
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let's say in the case of Mean Streets or Taxi Driver
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we have a really solid story in a way
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if they wanna take seen a certain place
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I'll go with them there you know
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see what it is to the point where you know
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either we do it or we don't do it
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and in discussion of rehearsal or or
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and setting
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up the shot
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or we do it and I don't use it
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and that doesn't mean you do it
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and intend not to use it
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but you try it later in the cutting
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it doesn't quite work
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but there's the
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there's a trust to open that character
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and
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enrich it within the context
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of the way the characters written
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and who he or she is
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that's the key
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if they start to take it and go off to suddenly
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doing things
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that we don't think the character really should
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should be doing or who that character is
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we'd find it
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I think we'd find it
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I've been felt comfortable with them
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Harvey could tell to Mean Streets
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Taxi Driver
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for example
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Judas when he played Judas and
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and last temptation of Christ
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but I was very lucky
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Barbara Hershey
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willing to fold
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these people felt that way
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you see um and so um
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this is something that develops with time
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I mean I was very lucky with De Niro
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because was on the first film
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Main Streets
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we had it um
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we had that relationship
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it was it was solidified in Taxi Driver
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because we weren't playing a neighborhood guy
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quote unquote
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or playing something else
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Travis Bickle
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that reflected
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possibly or negatively
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emotions psychological states that we
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understood or felt yeah
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that traitor wrote
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and so um that's why there was very little discussion
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about who we is
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we didn't have any discussion on that
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we just did it
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there's aspects to where actors are completely
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you get in a situation where somebody is completely
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incapable of working
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whether it's chemicals or just I don't know
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and case like that
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only once I had to recast
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I think was lucky
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but once or twice maybe
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and there was a time where an actor decided
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did a few scenes and
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20 years ago
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this was 25 years ago
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and then one morning
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was supposed to show up for the next scene
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and left a letter
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saying that he decided not to continue acting
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and apologized
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and so he said alright
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we cast another fellow and reshot the scenes
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squeezing it back into the schedule
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um these things happen
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but if it is a picture where um
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you need the dialogue
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and you need a certain scene being done
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and a person can't do it or is incapacitated
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it's tricky
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sometimes you're able to get them to do just enough
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and cover it in such a way you know
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and that takes a lot of time and patience you know
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and sometimes it's an issue where you can't reshoot
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a lot of things
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you have to utilize that person for another two weeks
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and so you just go through it
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you know the only thing you could think of
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in the future
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you try not to
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if the film calls for it
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you try not to
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meaning if the film is of that of that
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style where you do need a person to go from a to B to C
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maybe or a to C or a to F
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whatever in a scene
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somebody who could kind of stay on track no matter what
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what's going on in their minds or their bodies
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their chemicals some can't
18091
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