A Quote by Claire Denis
I have very strong relationships with my actors when I'm shooting. When you love an actor's work, you always feel you have to go further, and you make several films together. One film just gives you time to get acquainted.
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With other actors, I have always been respectful. Ayushmann is an ace actor. I love everybody's work. We are an industry of professional actors and filmmakers. Everybody is here to make films. I feel very good about it. I don't have any negative or bad thinking.
While directing in theater that the actors will - I don't know if it's competitiveness or what it is, but they love to make each other laugh. They love to impress each other in rehearsal. They'll try something for a reaction. But in film, you're very often not all together in the room at the same time. You're shooting one day, somebody else is shooting the next. It's a totally different dynamic.
I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.
If you go into a forest of film stories, you never can get right through the forest straight ahead; you always have to make some U-turns or whatever, because there's some trees in the way. And that's what I'm doing. Sometimes, as an actor, if you make only these intellectual, wonderful films, which I love, from time to time you have to make a film like Armageddon so people see that you're still around.
Actors can be very precious about their work and their scenes, but I think good actors have a strong understanding of narrative and are very often not as precious about that stuff. They just can't be because they understand what makes for a better film, and that it's the job of the actor to work toward that, and then if you want you can go to acting class or workshops. But making movies is not workshops.
I love the variety of films. In theater, you go into a room and the director runs the room, so you all work to his or her method. On film, if an actor or an actress is in for a day or two, the director has to get out of that actor what they need, so they have to change and adapt to that actor's technique.
I would like to be able to be both a film actor and a stage actor - to be an American actor in the style of a lot the English actors who do films. They are these wonderful actors who can do everything.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
George Clooney and Brad Pitt, with those 'Oceans' films they do, they get to work together, make a whole lot of money, and make a major film statement. Imagine if once a year, myself, Denzel Washington, Laurence Fishburne, James Earl Jones, we did some relevant film together to make a statement.
There are so many people who are trying their luck in films and only a few of those actors get to do films and choose to be an actor. The stakes are always high here. It's hard in the sense that it's very uncertain.
I'm not entirely comfortable saying I'm an actor, because it seems like a very weird, almost dorky thing to say you are. I laugh after every take just out of the discomfort I feel that I'm even on film. It's an awkward thing for me to be doing. Once we get going, it's always fine, and as we're shooting, I'm never thinking about it. I'd say that all my time in front of the camera is equally uncomfortable for me.
There's something that happens where you go, if you're lucky, goodness me, from film to another film to another film. And you can sort of feel that if you step off that treadmill, it might all go horribly wrong and you might never be employed again, you know. And I suddenly thought that that's not necessarily the case. And I also thought we make drama as actors about people in the world and that if you are on that treadmill, you start making films about other films.
When filmmakers are kept from making films, there's a lot of different reasons why. Sometimes you work on a film and cast it and do all the work and can be just a month away from shooting, and all of a sudden, the whole thing goes up in smoke. But I do think the advent of a digital revolution is going to provide people with opportunities to make films that they never would have had before. I think you can do some pretty credible stuff now with very, very little money. Which I think is great for young filmmakers.
See, the first thing about actors is, you're just trying to get a job; and you audition and audition and you finally get them. And you still consider yourself an auditioning actor. I auditioned for One Fine Day, I wasn't offered that. So you're still in that 'Hey, I'm just trying to get a job' thing. Then, you get to the point where, if you decide to do it, then they'll make the film. That's a different kind of responsibility, and it usually takes a couple of films to catch up. And then you have to actually pay attention to the kind of films that you're making.
A film just doesn't involve actors, a director and a producer, there is also the cameraman, the sound engineer, the music composer, the lyric writer. So many people come together to make a film. When we all feel satisfied with the film that we have created it's a win for all of us.
When you make the film, it's like a chef who works on the meal. After you're working all day in the kitchen and dicing and cutting and putting the sauces on, you don't want to eat it. That's how I always feel about the films. I work on it for a year. I've written it, I've worked with the actors, I've edited, put the music in. I just never want to see it again.
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