A Quote by D'Arcy Carden
Mike Schur knows exactly what everything should look like but, at the same time, is super collaborative and loves working with actors that make choices and bring stuff to the table.
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I love working with people and having them bring something to the table that I couldn't. I think one of my favourite artists to work with has been Kucka. She's Australian, too, and it's great working with her because we kind of have a very similar take on music, and we like a lot of the same stuff. We're not super-precious about ideas.
There’s a writer for you,” he said. “Knows everything and at the same time he knows nothing.” [narrator]It was my first inkling that he was a writer. And while I like writers—because if you ask a writer anything you usually get an answer—still it belittled him in my eyes. Writers aren’t people exactly. Or, if they’re any good, they’re a whole lot of people trying so hard to be one person. It’s like actors, who try so pathetically not to look in mirrors. Who lean backward trying—only to see their faces in the reflecting chandeliers.
The whole point of this game is that everything flows together in one simple movement... it should just flow and be fluid. And that's what I want to bring to the table every single time I fight. And I enjoy making it look, you know, like an art.
With the daguerreotype, everyone will be able to have their portrait taken . . . and at the same time everything is being done to make us all look exactly the same.
I like working with actors who make choices. Whether they get their ideas from me or from themselves, I want them to own all the choices so I can take my hand out of it.
Sudheer Varma is very easy going and very confident director. He knows exactly what he wants. He has a very good vision and knows how many shots he wants for a scene. He is super fast. He gives freedom for actors to try different things. The atmosphere on the sets was never serious. We had great fun working together.
You're always going to have ups and downs - if you look at the careers of a whole bunch of people I respect, some of them have good movies, some of them have bad movies. I remember Andrew Garfield said that the only power we really have as actors - or one of the main powers we have as actors - is our choices. We can make interesting choices, but as soon as you've made that choice, so much else is in play: the director, the script can change, the other actors. All you can do is try to make interesting choices and, once you're in it, just do the best you can.
It's very different - the European way of working and the American way of working. There are two sides for each of them. In Italy, or France, we take it very slow. For example, we would have a lunch break of an hour or more. Just sitting down at the table, chitchatting. In America, it's like, "Grab your sandwich, we're ready to shoot in 10 minutes." But at the same time, everything works so much better in America. It's more efficient, so it's easier to bring the results home faster.
Look at all the stuff the Existentialists did. You can start with [Pablo] Picasso, you know, and then Francis Bacon and other guys like that. What they were doing is depicting suffering. And that's exactly what a demon is, he's pretending that he isn't. So he can get more people down there. You know, misery loves company, that's the whole thing. So that's basically the pitch that I'm working on.
I think casting is really important. Finding the right sensibility for the right part is an art in itself. If you're off there, you make it harder on yourself as a director. And it's fun to work that out with the actors. I don't think there's any magic to directing actors. It's very instinctual. Working with actors is really one of my favorite creative moments of the whole process, and the most fun, because it's collaborative. I spend a lot of time rehearsing. I'm very rehearsal-oriented, probably because I have some background in theater. I like knowing what will work beforehand.
I certainly don't feel any more super than any of the other people I knew in my working life... Quite the reverse. In fact, guilt is my middle name, and I think anybody who does do that thing with work and children and everything knows exactly what I'm talking about.
Some of the best actors in the world are very exterior actors, Anthony Hopkins being one of them. He knows exactly how to turn his face to get a certain expression. He knows exactly what to do with eyes, and with his voice. It's very exterior.
We're interested by public personas and private personas, otherwise we wouldn't put on with actors rambling on with the same kind of stuff, over and over again, saying variations of the same thing. I'm always amazed by how fascinated people still are by actors because it's the same version of events that actors describe, all the time.
I've got a reputation for being difficult, and yet with my crew and my cast, I'm super-collaborative and we get on really well, and they like working with me.
I love working with Prada, I would do it all the time if I could. Working with them is like working on a film: it is very collaborative.
You've gotta leave enough space for your actors to bring stuff to the table and whatever the weather's doing that day or what the light's like. Things can shift, and you have to be malleable. Every day is a different feeling and a change.
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