A Quote by Paul Dano
I think there was a lot of working out the arc of how Manny [Daniel Radcliffe] talks. Scene to scene [in the Swiss army Man], if I would start talking a little too well, they would come in and say like, "Hey, you need to [dial back] your ability to speak" - things like that.
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I think it was a lot of trust as well [between me and Daniel Radcliffe]. If we didn't have that, it could be a very painful film [ Swiss Army Man] to go make.
We would choreograph [ with Paul Dano] before each scene [in Swiss Army Man] and very quickly got to a place where we could improvise physically in scene and know that the other person would respond in character appropriately. So that [dynamic] was a lot of fun.
I was actually thinking about starting like an app where you can watch videos of me carrying Daniel [Radcliffe in Swiss Army Man].
I think a woman's opinion on what her man smells like is very important, so I like to let a man know what I think about how he smells. I think going by personality is hard when trying to find a fragrance for someone else. It should come down to what smells good to you. I would tell my man, "Hey babe, I bought this new cologne for you," in the nicest possible way. But a man has to smell good. And not too much - just a little, that's all you need.
As a writer, you know what the purpose of the scene is. It really has nothing to do with the actor so you have to really get out of that space because for actors it's a micro-focus and then you figure out your arc through what the writers have given you to say. But that arc is just one little piece of the huge arc of the whole film. It took a while to get out of that.
Every day I would come to set [of Swiss Army Man] going like, "How are we going to do this?".
Don't start a scene where two people are talking about jumping out of a plane. Start the scene having already jumped. If you are scared, look into your partner's eyes. You will feel better.
I would say things like 'I am the greatest! I'm pretty! If you talk jive, you'll drop in five! I float like a butterfly, sting like a bee! I'm pretty!' When white people heard me talking like this, some said, 'That black man talks too much. He's bragging.'
Everything is important, but there is a weight to these big or expected things and then there is the logistics of them and it's trying to find, while you worry about for instance the ballroom scene, how do you get 500 people to go to the loo in corsets and don't cost you an hour and how do you remember while you're organizing all that to take a breath and say, 'Well the scene is about all of that and it's about Prince hand on the small of Cinderella back as well' and we need time to do that properly as well.
You're an actor, you want to do a scene in class. But one of the things I've always had is I've always had a really good memory. So I would go and watch a movie and then I would see a scene in the movie and I go, hey I'd like to do that in class this Wednesday.
I moved to Chicago in the early 1990s and I studied improvisation there. I learned some rules that I try to apply still today: Listen. Say yes. Live in the moment. Make sure you play with people who have your back. Make big choices early and often. Don't start a scene where two people are talking about jumping out of a plane. Start the scene having already jumped. If you're scared, look into your partner's eyes — you will feel better.
I like the dueling club scene, where Daniel and I fight with our wands. I thought it was a brilliant scene to shoot. I think the end product looked really good.
I was constantly surprised by how things took shape, whether it was something that was funny or [sharp] or some of these more simple, quiet moments in the woods. Honestly I would say everything and nothing. I honestly don't think it's different than on any other film [Swiss Army Man]. I think I would probably ask questions of everything always.
You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.'
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.
It's fun when the writers start writing jokes to you, but also it's fun when the writers will come to you and say 'Hey, listen, we're working on this story and we need to know if you speak any foreign languages.' And I said 'No, I don't. I speak a little Spanish, but I can learn a foreign language.' And they go 'Okay, do you think you can learn Portuguese?' And I go 'Yeah, whatever it takes. If it's funny, I'll do it.' So of course I start looking online and learning Portuguese, and as it turns out, I get the script and it's now Serbian.
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