A Quote by Melanie Laurent
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.
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I just trust the director and never overanalyse the script, screenplay, etc. You are just taking a bet at the end of the day, so confidence, be it on the filmmaker or the script, is all that counts.
You see, we capitalists will never actually ask you to work overtime. I don't even track your hours. I just make it clear that I trust you to get your job done in the time allotted. And then I hand you twice as much work as you can reasonably do in a 40-hour week.
I loved magic, and so I would practice my magic tricks in front of a mirror for hours and hours and hours because I was told that you must practice, you must practice and never present a trick before it's ready.
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.
You can never judge your characters. You have to love them, really care about them. You're never just playing a villain or the crazy lady.
What I love about Inuit carving is that it's so narrative, but it doesn't have the temporal dimension of an illustrated picture, where it feels like something happens before or after. Everything is happening in the sculpture, and you can hold the whole story in your hand. A lot of these sculptures are small enough that you can hide them in your hand completely so you're not looking at them, you're just feeling them. I
We were brought up in the school that teaches: You do what the script tells you. Deliver the goods without comment. Live it-do it-or shut up. After all, the writer is what's important. If the script is good and you don't get in its way, it will come off okay. I never discussed a script with Spence [Spencer Tracy]; we just did it. The same with Hank [Henry Fonda] in On Golden Pond. Naturally and unconsciously we joined into what I call a musical necessity-the chemistry that brings out the essence of the characters and the work.
Usually when you meet with a director, just meeting them after you've seen something you're interested in, they say, "Oh I'd love to work together," and sometimes you never hear from them again.
I choose movies, I never choose roles. I look at the script. I look at the director. I look at the other actors - and then the role.
You may never learn the names of any of the people you talk to in a dog park, even after many, many hours spent there with them, and many hours of conversation. But if - knock on wood - anything should ever happen to your dog, these nameless non-strangers will rally, sympathize, offer to help, and hold your hand. I know this from experience.
I never went to school for acting; it just comes to me. I never practice. I read the script, I'll memorize it. I don't even practice the acting. I'll just do it the day, and it will just come to me.
I have an association that director means total authority. Director means they will never let you down. Director means just trust them and fulfill their vision, and know that the story will be told in its best incarnation.
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.'
Just trust your instincts. There's an old saying in golf, you've studied the swing many times, and you practice and practice, but when you stand over the ball, you just have to trust your swing. And you trust it. And if you don't trust it, you'll ruin it; your brain will take over.
It's madness to hand in a script to a director, leave them alone, and for the director not to want the writer there with rehearsals and the shoot.
There are other ways to motivate students than requiring them to take on debt or work long hours taking away from their studies. For example, we don't allow our kids to work during the school hours their freshman year. After that, they can work a little but not so much that it hurts their education.
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