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These are the user uploaded subtitles that are being translated: 1 00:00:12,966 --> 00:00:14,166 I think it's important 2 00:00:14,166 --> 00:00:16,266 for a director to know something about acting 3 00:00:16,266 --> 00:00:19,433 it's good if he or she gets in front of the camera 4 00:00:19,733 --> 00:00:21,199 and fails miserably 5 00:00:22,133 --> 00:00:23,666 and then succeeds a little bit 6 00:00:23,666 --> 00:00:25,266 and it gets really important to know what it's like 7 00:00:25,266 --> 00:00:26,366 to hit the light 8 00:00:26,533 --> 00:00:27,666 to make sure you're there 9 00:00:27,666 --> 00:00:29,299 and to make sure you're there 10 00:00:29,300 --> 00:00:31,566 for the other actor to respond 11 00:00:32,566 --> 00:00:35,599 to get a sense of how you walk across a room 12 00:00:36,066 --> 00:00:37,566 because you can become very self conscious 13 00:00:37,566 --> 00:00:39,499 what you do with your hands you know 14 00:00:40,600 --> 00:00:42,100 it's always good every 15 00:00:43,500 --> 00:00:44,600 after certain period of time 16 00:00:44,600 --> 00:00:45,766 for you to get in front of that camera 17 00:00:45,766 --> 00:00:46,799 to play a part 18 00:00:46,933 --> 00:00:48,133 or somebody else's film 19 00:00:48,133 --> 00:00:49,499 be directed by other people 20 00:00:50,133 --> 00:00:51,966 or any bits and pieces 21 00:00:51,966 --> 00:00:55,066 even if you're playing yourself um I mean 22 00:00:55,066 --> 00:00:57,266 I'm not saying you should read all of Stanislavsky 23 00:00:57,266 --> 00:00:59,999 or play Kowalski or Cordelia but it's 24 00:01:00,300 --> 00:01:02,666 it's good to know something about the challenges 25 00:01:02,666 --> 00:01:04,299 and the fears that the actors face 26 00:01:04,300 --> 00:01:05,800 and the techniques they use 27 00:01:05,866 --> 00:01:08,899 and the different approaches they take to what they do 28 00:01:10,000 --> 00:01:10,466 cause again 29 00:01:10,466 --> 00:01:11,399 I'm looking for the 30 00:01:11,400 --> 00:01:13,366 the connection that sparked between us 31 00:01:14,466 --> 00:01:16,533 sometimes it proves to be more difficult on set 32 00:01:16,533 --> 00:01:18,066 with certain actors than you might have realized 33 00:01:18,066 --> 00:01:18,766 and every once in a while 34 00:01:18,766 --> 00:01:19,966 just doesn't work out 35 00:01:20,200 --> 00:01:21,700 and you're somewhat disappointed 36 00:01:21,700 --> 00:01:23,033 you might get something else 37 00:01:23,466 --> 00:01:25,066 uh you may not even like that something else 38 00:01:25,066 --> 00:01:26,366 but it's enough for that moment 39 00:01:26,366 --> 00:01:27,066 and you realize okay 40 00:01:27,066 --> 00:01:27,533 in the future 41 00:01:27,533 --> 00:01:28,499 I had to be careful of this 42 00:01:28,500 --> 00:01:30,766 or that I may not always work 43 00:01:30,900 --> 00:01:35,266 um so you do work with what you get 44 00:01:35,466 --> 00:01:36,933 ultimately you know 45 00:01:36,933 --> 00:01:37,733 and that's a rule 46 00:01:37,733 --> 00:01:39,033 I guess in filmmaking 47 00:01:39,366 --> 00:01:40,299 or many things 48 00:01:40,300 --> 00:01:41,800 but you may want one thing 49 00:01:41,800 --> 00:01:42,600 but you're gonna 50 00:01:43,066 --> 00:01:44,199 through circumstances 51 00:01:44,200 --> 00:01:46,166 whatever you wind up with other things 52 00:01:46,166 --> 00:01:47,499 and that has to do with the actors 53 00:01:47,500 --> 00:01:49,200 so hopefully 54 00:01:49,200 --> 00:01:52,233 you want what you get and this 55 00:01:53,800 --> 00:01:56,700 the spark of humanity is the key with the actors 56 00:02:02,500 --> 00:02:05,400 I guess the term director is misleading sometimes 57 00:02:05,400 --> 00:02:06,166 when it comes to actors 58 00:02:06,166 --> 00:02:08,066 of course in one sense 59 00:02:08,066 --> 00:02:08,699 it's on target 60 00:02:08,700 --> 00:02:13,800 I mean I could not think about working on stage 61 00:02:13,800 --> 00:02:17,033 or utilizing techniques 62 00:02:17,400 --> 00:02:21,033 by directors who have gone through certain methods 63 00:02:21,066 --> 00:02:22,466 I wouldn't know 64 00:02:24,200 --> 00:02:25,133 one thing I mean 65 00:02:25,133 --> 00:02:26,233 I would think 66 00:02:26,700 --> 00:02:28,733 in a raw situation 67 00:02:28,733 --> 00:02:30,366 actor at least needs 68 00:02:31,133 --> 00:02:33,866 needs the director to kind of do 69 00:02:33,933 --> 00:02:35,066 orient him or her 70 00:02:35,066 --> 00:02:36,066 because I mean 71 00:02:36,066 --> 00:02:37,333 you always gonna be shooting out a sequence 72 00:02:37,333 --> 00:02:38,299 that's one of the problems 73 00:02:38,300 --> 00:02:40,600 and they're going to look to you to 74 00:02:40,600 --> 00:02:42,166 you know tell them where they are in the story 75 00:02:42,166 --> 00:02:43,299 and where they're feeling emotionally 76 00:02:43,300 --> 00:02:44,733 it's a very difficult thing 77 00:02:44,733 --> 00:02:49,299 I think we have the training of a director 78 00:02:49,300 --> 00:02:51,233 a training of directors worked in theater 79 00:02:52,000 --> 00:02:53,766 it might be never easy 80 00:02:53,766 --> 00:02:55,533 but at least you might be more familiar with it 81 00:02:55,533 --> 00:02:57,399 for me I was finding rather difficult 82 00:02:57,700 --> 00:02:59,466 but this is where you work together 83 00:03:00,666 --> 00:03:02,133 but on the other hand 84 00:03:02,133 --> 00:03:03,666 they also need to explore 85 00:03:04,000 --> 00:03:05,666 and I always tell 86 00:03:05,666 --> 00:03:09,799 I like to tell the actors to particularly try anything 87 00:03:09,800 --> 00:03:11,300 you know um 88 00:03:11,366 --> 00:03:14,799 and if you had the time on set 89 00:03:14,800 --> 00:03:16,066 which you don't usually 90 00:03:16,066 --> 00:03:17,066 but if you do 91 00:03:17,800 --> 00:03:19,066 if you make the time 92 00:03:19,066 --> 00:03:21,666 have the time to fail as much as you can 93 00:03:22,000 --> 00:03:23,333 and tell him it's okay 94 00:03:23,333 --> 00:03:23,899 just go ahead 95 00:03:23,900 --> 00:03:25,066 try this try that 96 00:03:25,066 --> 00:03:27,466 and you need that freedom 97 00:03:27,466 --> 00:03:28,766 you need to give them that freedom 98 00:03:28,766 --> 00:03:29,266 particularly 99 00:03:29,266 --> 00:03:30,299 you can do this in the rehearsal 100 00:03:30,300 --> 00:03:31,366 there's no mistake 101 00:03:31,400 --> 00:03:32,133 you just go 102 00:03:32,133 --> 00:03:35,866 you do it and explore the instincts 103 00:03:35,866 --> 00:03:38,566 and then you try to shape from there 104 00:03:38,566 --> 00:03:39,399 in discussion 105 00:03:39,400 --> 00:03:42,666 if something is gone in a different direction 106 00:03:42,866 --> 00:03:44,266 I don't wanna say gone wrong 107 00:03:44,266 --> 00:03:46,366 but there's something on a different direction 108 00:03:46,366 --> 00:03:48,099 where people don't agree or something 109 00:03:48,100 --> 00:03:48,900 and it's like 110 00:03:49,066 --> 00:03:49,766 you find yourself 111 00:03:49,766 --> 00:03:51,566 you can cover it in such a way 112 00:03:51,566 --> 00:03:52,466 and you never 113 00:03:52,466 --> 00:03:53,866 at times I must say 114 00:03:54,100 --> 00:03:55,066 you have to be careful 115 00:03:55,066 --> 00:03:55,799 you you know 116 00:03:55,800 --> 00:03:58,366 sometimes you think something is dreadfully wrong 117 00:03:58,566 --> 00:04:01,199 and later when you look it in the context of cut 118 00:04:01,500 --> 00:04:03,066 my work you know 119 00:04:03,566 --> 00:04:05,266 there are things I know don't work immediately 120 00:04:05,266 --> 00:04:06,066 but you shoot them 121 00:04:07,333 --> 00:04:07,933 to shoot them 122 00:04:07,933 --> 00:04:10,966 because it's a process for the actor to go through that 123 00:04:11,900 --> 00:04:12,733 and if I say no 124 00:04:12,733 --> 00:04:13,499 you can't do that 125 00:04:13,500 --> 00:04:15,233 I found when I did that 126 00:04:15,300 --> 00:04:17,300 it threw certain kinds of actors off 127 00:04:17,300 --> 00:04:18,133 not all not all 128 00:04:18,133 --> 00:04:20,366 but certain kinds and um 129 00:04:20,366 --> 00:04:21,433 I found that 130 00:04:21,566 --> 00:04:23,966 um it's best to uh 131 00:04:23,966 --> 00:04:25,366 let that person 132 00:04:25,366 --> 00:04:26,966 he or she work it out 133 00:04:27,333 --> 00:04:28,999 and if it's a matter of shooting it 134 00:04:29,000 --> 00:04:30,100 by the time you're discussing 135 00:04:30,100 --> 00:04:31,000 you could shoot it 136 00:04:32,500 --> 00:04:33,800 then you use it or not 137 00:04:39,933 --> 00:04:41,366 I think in terms of 138 00:04:42,400 --> 00:04:45,000 being able to work with Genero in eight movies or so 139 00:04:45,166 --> 00:04:46,999 and DiCaprio so far in five 140 00:04:47,000 --> 00:04:49,000 I mean again 141 00:04:49,000 --> 00:04:52,333 it's all based on a similar experience 142 00:04:52,333 --> 00:04:53,333 life experience 143 00:04:53,333 --> 00:04:55,999 and a similar way of looking at life then 144 00:04:57,500 --> 00:05:00,166 in the case what in the case of Genero he did actually 145 00:05:01,866 --> 00:05:03,399 he was actually part of the neighborhood 146 00:05:03,400 --> 00:05:05,600 I was growing up in at the same time 147 00:05:05,600 --> 00:05:07,100 so he knows the world 148 00:05:07,100 --> 00:05:08,433 he knows the the 149 00:05:09,333 --> 00:05:10,566 the codes of that area 150 00:05:10,566 --> 00:05:11,766 he knows the behavior 151 00:05:11,766 --> 00:05:13,633 he knows the culture 152 00:05:13,666 --> 00:05:15,566 you know DiCaprio 153 00:05:15,566 --> 00:05:17,566 something else with 30 years difference 154 00:05:18,333 --> 00:05:19,566 yet his instincts 155 00:05:21,000 --> 00:05:22,400 are very similar 156 00:05:22,500 --> 00:05:27,666 and his curiosity is very similar to mine 157 00:05:28,533 --> 00:05:31,499 and the ability to take chances 158 00:05:32,000 --> 00:05:34,066 not be afraid is something that 159 00:05:35,200 --> 00:05:36,333 it is remarkable 160 00:05:36,333 --> 00:05:36,999 and feel comfortable 161 00:05:37,000 --> 00:05:38,500 this all goes to the way of trust 162 00:05:38,500 --> 00:05:40,366 trusting each other you see 163 00:05:40,933 --> 00:05:42,466 so when you trust that way 164 00:05:42,533 --> 00:05:43,299 and we have 165 00:05:43,300 --> 00:05:45,400 let's say in the case of Mean Streets or Taxi Driver 166 00:05:45,400 --> 00:05:48,066 we have a really solid story in a way 167 00:05:48,500 --> 00:05:50,400 if they wanna take seen a certain place 168 00:05:50,400 --> 00:05:52,466 I'll go with them there you know 169 00:05:53,133 --> 00:05:56,166 see what it is to the point where you know 170 00:05:56,266 --> 00:05:57,966 either we do it or we don't do it 171 00:05:57,966 --> 00:06:00,799 and in discussion of rehearsal or or 172 00:06:01,900 --> 00:06:02,366 and setting 173 00:06:02,366 --> 00:06:03,199 up the shot 174 00:06:04,600 --> 00:06:07,633 or we do it and I don't use it 175 00:06:07,933 --> 00:06:10,433 and that doesn't mean you do it 176 00:06:11,000 --> 00:06:12,333 and intend not to use it 177 00:06:12,333 --> 00:06:13,866 but you try it later in the cutting 178 00:06:13,866 --> 00:06:14,899 it doesn't quite work 179 00:06:15,900 --> 00:06:17,066 but there's the 180 00:06:17,733 --> 00:06:21,199 there's a trust to open that character 181 00:06:22,400 --> 00:06:23,200 and 182 00:06:24,666 --> 00:06:26,499 enrich it within the context 183 00:06:26,500 --> 00:06:27,766 of the way the characters written 184 00:06:27,766 --> 00:06:29,633 and who he or she is 185 00:06:29,866 --> 00:06:31,033 that's the key 186 00:06:31,366 --> 00:06:34,233 if they start to take it and go off to suddenly 187 00:06:35,533 --> 00:06:36,066 doing things 188 00:06:36,066 --> 00:06:37,899 that we don't think the character really should 189 00:06:37,900 --> 00:06:40,833 should be doing or who that character is 190 00:06:41,133 --> 00:06:41,933 we'd find it 191 00:06:41,933 --> 00:06:42,866 I think we'd find it 192 00:06:42,866 --> 00:06:44,166 I've been felt comfortable with them 193 00:06:44,166 --> 00:06:46,166 Harvey could tell to Mean Streets 194 00:06:46,166 --> 00:06:46,899 Taxi Driver 195 00:06:46,900 --> 00:06:47,900 for example 196 00:06:47,933 --> 00:06:49,766 Judas when he played Judas and 197 00:06:50,666 --> 00:06:52,199 and last temptation of Christ 198 00:06:52,300 --> 00:06:53,100 but I was very lucky 199 00:06:53,100 --> 00:06:53,766 Barbara Hershey 200 00:06:53,766 --> 00:06:54,399 willing to fold 201 00:06:54,400 --> 00:06:56,100 these people felt that way 202 00:06:56,166 --> 00:07:00,166 you see um and so um 203 00:07:00,200 --> 00:07:03,666 this is something that develops with time 204 00:07:03,666 --> 00:07:05,166 I mean I was very lucky with De Niro 205 00:07:05,166 --> 00:07:06,499 because was on the first film 206 00:07:06,500 --> 00:07:07,400 Main Streets 207 00:07:07,966 --> 00:07:09,633 we had it um 208 00:07:10,133 --> 00:07:11,466 we had that relationship 209 00:07:11,466 --> 00:07:14,433 it was it was solidified in Taxi Driver 210 00:07:14,533 --> 00:07:17,299 because we weren't playing a neighborhood guy 211 00:07:17,300 --> 00:07:17,933 quote unquote 212 00:07:17,933 --> 00:07:19,499 or playing something else 213 00:07:20,300 --> 00:07:21,300 Travis Bickle 214 00:07:21,300 --> 00:07:22,833 that reflected 215 00:07:23,100 --> 00:07:24,633 possibly or negatively 216 00:07:26,933 --> 00:07:29,233 emotions psychological states that we 217 00:07:30,366 --> 00:07:33,033 understood or felt yeah 218 00:07:33,733 --> 00:07:34,899 that traitor wrote 219 00:07:35,366 --> 00:07:38,133 and so um that's why there was very little discussion 220 00:07:38,133 --> 00:07:39,399 about who we is 221 00:07:39,966 --> 00:07:41,866 we didn't have any discussion on that 222 00:07:42,266 --> 00:07:43,233 we just did it 223 00:07:49,466 --> 00:07:51,999 there's aspects to where actors are completely 224 00:07:52,700 --> 00:07:54,866 you get in a situation where somebody is completely 225 00:07:56,133 --> 00:07:57,666 incapable of working 226 00:07:58,333 --> 00:08:02,499 whether it's chemicals or just I don't know 227 00:08:04,400 --> 00:08:05,333 and case like that 228 00:08:05,333 --> 00:08:07,466 only once I had to recast 229 00:08:07,466 --> 00:08:09,466 I think was lucky 230 00:08:09,600 --> 00:08:12,666 but once or twice maybe 231 00:08:13,166 --> 00:08:14,933 and there was a time where an actor decided 232 00:08:14,933 --> 00:08:16,199 did a few scenes and 233 00:08:16,766 --> 00:08:17,399 20 years ago 234 00:08:17,400 --> 00:08:18,466 this was 25 years ago 235 00:08:18,466 --> 00:08:19,533 and then one morning 236 00:08:19,533 --> 00:08:20,566 was supposed to show up for the next scene 237 00:08:20,566 --> 00:08:21,766 and left a letter 238 00:08:21,766 --> 00:08:24,233 saying that he decided not to continue acting 239 00:08:25,733 --> 00:08:26,799 and apologized 240 00:08:27,666 --> 00:08:28,899 and so he said alright 241 00:08:29,400 --> 00:08:31,700 we cast another fellow and reshot the scenes 242 00:08:32,133 --> 00:08:33,899 squeezing it back into the schedule 243 00:08:34,266 --> 00:08:35,966 um these things happen 244 00:08:36,333 --> 00:08:38,199 but if it is a picture where um 245 00:08:38,266 --> 00:08:39,166 you need the dialogue 246 00:08:39,166 --> 00:08:41,199 and you need a certain scene being done 247 00:08:41,200 --> 00:08:45,066 and a person can't do it or is incapacitated 248 00:08:45,066 --> 00:08:45,899 it's tricky 249 00:08:45,900 --> 00:08:49,833 sometimes you're able to get them to do just enough 250 00:08:50,533 --> 00:08:53,533 and cover it in such a way you know 251 00:08:53,533 --> 00:08:57,099 and that takes a lot of time and patience you know 252 00:08:57,500 --> 00:09:00,000 and sometimes it's an issue where you can't reshoot 253 00:09:00,000 --> 00:09:00,966 a lot of things 254 00:09:00,966 --> 00:09:04,833 you have to utilize that person for another two weeks 255 00:09:06,933 --> 00:09:08,466 and so you just go through it 256 00:09:08,500 --> 00:09:10,366 you know the only thing you could think of 257 00:09:10,366 --> 00:09:10,966 in the future 258 00:09:10,966 --> 00:09:11,899 you try not to 259 00:09:11,900 --> 00:09:14,800 if the film calls for it 260 00:09:14,800 --> 00:09:15,900 you try not to 261 00:09:15,900 --> 00:09:19,000 meaning if the film is of that of that 262 00:09:20,200 --> 00:09:23,966 style where you do need a person to go from a to B to C 263 00:09:23,966 --> 00:09:25,866 maybe or a to C or a to F 264 00:09:25,866 --> 00:09:26,966 whatever in a scene 265 00:09:26,966 --> 00:09:31,399 somebody who could kind of stay on track no matter what 266 00:09:31,400 --> 00:09:33,166 what's going on in their minds or their bodies 267 00:09:33,166 --> 00:09:35,666 their chemicals some can't 18091

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