A Quote by Noah Hawley
The great thing about making an ensemble show is it becomes modular. It might work on the page to cut from one scene to another, but on the screen, it's more powerful to take that second scene and move it first or move it later.
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I look at it scene-by-scene. Whether it's a historical character or not, whatever, on the page is one thing and delving into the history or somebody is one thing, but making something work for an audience in front of a camera is another exercise and you bring whatever authenticity you can to it.
A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage
A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage.
It's like you might have some great scene that you love but for some reason - and you can't necessarily put your finger on it - the movie's not working or it seems slow or ponderous in some way, and even though it has your favorite scene in there, actually the favorite scene is the culprit. That's the painful thing about editing, is trying to locate those things that are holding the movie back and then having the guts to cut them. And it is painful to do it.
My editor and I remain very disciplined. It's just sometimes when you're making a film, you get into the cutting room and you see a scene that's slowing you down in a certain section, but if you remove that scene then, emotionally or story-wise, another scene a half-hour later won't have the same impact. You just get stuck with it.
Silent is about needing to make a scene shorter by having physical things to cut to. That way, you can manipulate a character to the other side of the room. But, if they say the wrong thing, it might locate that action in a particular part of the scene. It's a mechanical need.
I work on one page, revising and polishing until I can't make it better, then move on to the next. Some pages might get 20 or more drafts before I move on.
I actually went to see 'Rushmore,' and I came late, and I missed myself. It was great, that scene. I caught that scene the other day on TV, funny enough, the first scene that you see with Jason Schwartzman and myself, where we talk about his grades. That's a brilliant scene, and I have to say, we play it brilliantly.
What I do is whatever it takes, it takes. Sometimes you see a scene right away and a take looks great so you might print that and you might print a couple more and take elements of all three. It just depends. You're looking for the highlights. You're looking for the best elements of the scene, but preferably you'd like to have one good take that would go all the way through.
In hockey, there are no second chances, but the great thing about acting is that there actually are. If you do a scene and you think you can do better - take two!
As a director, when you cut scenes from a movie, you do it with the idea that it is making the story move forward and progress. Sometimes, you don't realize that something is actually a sidetrack for the story, or it takes the tension out of a scene.
When you're on an ensemble show and you're messing around with everybody every day and you're not in every scene, and then all of a sudden you're in every scene, it's rough.
If I had to, I would ask first of all: why do things move in your work? It's the most simple, and also the most complicated, question. And I answer: things move because if they didn't move, they might move?.
If a scene is three pages long, quite often people break it up and do a page, say 'cut' then move on to the next bit, they do it in cuts. I don't really like doing that; I like to go through it all in one organic run, then give notes afterward. A little bit more like theater.
My first scene ever on camera was a dinner scene and I ate all the food. They yelled cut and the actor across from me was like, 'You know you're going to have to eat the same thing every single time.' I learned the hard way.
In the old days, you cut out a scene that might've been a really great scene, and no one was ever going to see it ever again. Now, with DVD, you can obviously... there's a lot of possibilities for scenes that are good scenes.
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