A Quote by Richard Sammel
I love my situation as a spectator. The actors are only a little bit ahead of the audience. The audience discovers the episode when it's screened, but we actors only discover the episode when we get the script, two weeks ahead of shooting. Until then, we know nothing of the evolution of our characters.
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Actors matter only if you have great content. There are so many actors who work only with good content, either the films will not work or they will get audience for a day or two if they are not backed by solid script.
Unfortunately, the public might not know that we get a script usually two days before shooting. So sometimes I'm shooting an episode and don't even know how it's going to end because I haven't read that yet.
Sometimes during a show or a film, while you're shooting it, you'll think, "This is great, it's going to be fantastic, the script is incredible, and the actors are great, and everything is working out brilliantly." And then you see it, and you kind of go, "Oh god, it's not as good as I thought it was," and it doesn't get an audience to watch it. It only does a couple of festivals and then dies and whatever.
If I can get the audience to connect with the characters emotionally - and they love who they are, they love the larger-than-life situation that they're in, but most of all get the audience invested in the characters - then I always feel like I can sort of put them in the most outrageous circumstances, and the audience is okay to go with that.
I'd just love to have an audience and it's the most fun in the world to get a new script every week and have the audience come in, and work with those actors.
In a film you only get two hours to do this big arc and so you have to pick and choose your moments carefully, but with television you get to take your time and just take it episode by episode and discover new things.
Id just love to have an audience and its the most fun in the world to get a new script every week and have the audience come in, and work with those actors.
In film you have the script months ahead of time often, for a good film, but in television it seems like you might not get the script until a week or two weeks before you've got to film it. It's a little weird, but also quite challenging. It reminds me of repertory theatre.
I was talking to Shonda Rhimes the other day and I said, "I. Do. Not. Know. How. You. Do. This." While we're writing episode 10, episode 6 is shooting, episode 3 is in the edit, and episode 2 is in its color session...You've got seven episodes in different parts! It's a wild, wild, wild ride, which I thoroughly enjoyed. It was badass and amazing.
The audience has a level of control, when you watch 'Invisible,' that nothing in 2D can give you. The overall climax of the series will work no matter how you get there, and the climax of each episode will work no matter how you get there, but no two viewings of an episode will ever be the same.
Our self illusion is so interwoven with personal memories that when we recall an event, we believe we are retrieving a reliable episode from our history like opening a photograph album and examining a snapshot in time. If we then discover the episode never really happened, then our whole self is called into question. But that's only because we are so committed to the illusion that our self is a reliable story in the first place.
I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.
When you're doing a play you get to go full speed ahead, all night, in front of an audience. It's a roller-coaster ride, responding to other actors, it feeds you.
Joe [Wright] reached out to me and sent me a treatment, and I said yes on the spot just from the treatment. Within six weeks, I was in Cape Town and there was a script [of Black Mirror episode 'Nosedive'], but I didn't realize until I received the full script that Rashida [Jones] and Michael [Schur] had worked on it. It's a particularly funny episode. Joe and I always looked at it as a satire; it has a lot of comedic elements to it.
You don't want to get too far ahead of the audience and you don't want the audience to be ahead of you. So, that balance is difficult and it takes a lot of work and tuning in the edit, to get the right balance.
Watching a movie with an audience is so exciting. For me, coming from TV, you finish an episode and then it airs, and I'm at home. There's no gratification and there's no audience interaction with it.
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