A Quote by Mads Mikkelsen
Typically, I work with the script and the director for awhile before, just to make sure we're on the same page.
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With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
Sharing the same vision for what's on the page is always a good idea. The director's job is to establish what that is and make sure that everyone sticks to it when it comes down to actually executing it. Establishing what the vision is and being able to stick to it is the job, and everyone should be on the same page going in.
I don't watch many films. I just make sure my directors are really good. I will work even with a debut director, but the one-hour narration of the script should be mind-blowing.
Sharing the same vision for what's on the page is always a good idea. The director's job is to establish what that is and make sure that everyone sticks to it when it comes down to actually executing it.
Whether it's a lower or higher budget project, a TV show or a film, the words on the page are the same to me and I approach the work in the same way. My job is to lift the character from the page, whether it's a TV or film script.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
The great thing I think when you do independents is that people are really there for the same reason. They're not there because they got a lot of money and they want to just go home and get it over with. They're there because they believe in the script or the director or the cast or whatever it is, and they want to make it work.
Now, before you make a movie, you have to have a script, and before you have a script, you have to have a story; though some avant-garde directors have tried to dispense with the latter item, you'll find their work only at art theaters.
What I try to do is make sure that the directors I'm working with are on the same page and want to do the same kind of films. You can really protect yourself as an actor if you work with really good people. It can hide a lot of flaws along the way.
It's hard to hand a script to a director, there's no question about it. You've lived with these characters, you've started with a blank page, especially when it's an original work and something not based on a preexisting piece of material. But if you don't like it, write a novel.
With a crisis as complex as coronavirus, multiple government agencies and departments are involved in responding. There needs to be one qualified and experienced person who will make sure every relevant cabinet secretary, agency director and policy advisor are on the same page - day in and day out.
I never practice before, I never work hours on a script. I just choose my characters and trust them, and after that, it's about the director taking your hand.
In terms of how I work with actors, having worked so heavily on the script I have a very clear idea of the characters; they are reasonably well illustrated in the script. If you cast it right, to a great degree you can hand it over to the actor and I just make suggestions. I'm not the kind of director who needs or wants to get into too much finessing. Ideally, when you hit the set, you have this conversation, like, 'eh, what did you think?' 'I don't know, what did you think?' 'Why don't we just try it again, make a few physical changes.'
I would say I'm not like the loudest guy, but I lead by example, and I just make sure all my teammates are on the same page and that they know that everybody has a job to do.
When I'm writing, it's about the page. It's not about the movie. It's not about cinema. It's about the literature of me putting my pen to paper and writing a good page and making it work completely as a document unto itself. That's my first artistic contribution. If I do my job right, by the end of the script, I should be having the thought, 'You know, if I were to just publish this now and not make it . . . I'm done.
I think everything that I've done, I've been involved with for longer. Either you develop it from scratch, or you take something, and you develop it, and you work on the script, but I'm not sure how good I'd be at just sort of taking a piece of material and being a director for hire like that.
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