You can't act for the editing. You just go in and do the scene the way you think is right.
You can't act for the editing. You have to leave that to him. So you just go in and do the scene the way you think is right or whatever you're directed to do, and leave the rest of that technical stuff up to the director.
I used to get so worried that if a scene didn't go a certain way, then it was horrible. But then I realized that it was better to give the director options in the editing room than just being locked into how it's supposed to be.
Just take me with you. Please. I cant. Please, Papa. I cant. I cant hold my son dead in my arms. I thought I could but I cant.
I used to be very rigid because I just wanted to get through it. Now, if I think a scene should go a certain way and it goes another, I'm able to go that new way with ease.
The hardest scene for me is always the scene when I'm dealing with performances, when I'm actually looking at the guys and hoping that I'm covering it in the right way and that I'm handling it in the right way.
... where the Greeks had modesty, we have cant; where they had poetry, we have cant; where they had patriotism, we have cant; where they had anything that exalts, delights, or adorns humanity, we have nothing but cant, cant, cant.
the thing is you can get used to anything you think you cant you want to die but you dont you cant you just are
As the actor, you can't be worried about the scene that you're going to playing two days from now. You think about what's going on, right now and in the moment. That's what you worry about. Everything is right then and there. In the end, all of the pieces come together, thanks to the editing and James Gunn.
I always try to tell the story the best possible way. I create the mood for each scene in a way that the audience feels that they are right there with me and they feel actually in the mood that was right for the scene.
I think it's the hardest part for about 80 percent of the guys in the NBA. That's just the way it is in the NBA, unless you're a mega superstar. You're just going to play wherever you go. You try to find the right fit and the right team with the right system and the right coach at the right time.
I don't like to do any editing on guitars. I think the more editing you do, it just takes away from the feel of the performance.
Now, if I think a scene should go a certain way and it goes another, I'm able to go that new way with ease.
I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
As an actor, you always find your way. You have whatever preparation techniques you use, and you just go with the scene when you're on set. You can only plan so much when you're working, because things have to come naturally in the scene.
Performance is made in the editing room, and I've come to see the truth in that - the idea that they say performances are usually made in the editing room because what you film is the raw material. I think just going through the process of saying, "Which take do we use? Why is that the take we want? I want that take can you edit again, I'm not sure that's the one, I think it's this one." And just because you go through that process, I think somehow it's made me sort of more open about the [actor's] possibilities.