A Quote by Rory Kinnear
The nice thing about doing a weekly record is you're rehearsing all week and working on getting the script better. Come Friday, when it's time to actually film it, you feel like you've done most of the work!
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It's a marathon, not a sprint. I actually feel like I come to work stronger when I've had a little time on the weekend to step away from it and enjoy my family and other things. I come back energized. If people think they're going to work 24/7, week in and week out, they're not bringing their full strength to the table.
The biggest mistake I made was not having a full-time producer. I was securing locations and wardrobe and making sure people get called to show up on time and getting the film to the lab and getting the camera, and all this stuff that I'm happy to do, but if I'm doing every little thing, I'm not concentrating on my story. So it never gets any better than the script.
The question I ask myself like almost every day is: ‘Am I doing the most important thing I could be doing?' Unless I feel like I’m working on the most important problem that I can help with, then I’m not going to feel good about how I’m spending my time. And that’s what this company is.
I love Dexter. I love Top Chef. I can't wait for it to come back. I love Friday Night Lights. I think TV is in a great place right now. It's definitely getting better and better. I think there is some of the most complete writing for women and female characters, they're done in television production and not really film production.
[Billy Bob Conroy role] that was a favor. Actually, the lady who cast Night Court asked me to do it, because it was a Friday, and the person who'd been rehearsing it all week got sick and couldn't come to the taping. And she figured I could put it together pretty quickly - it was not all that big a challenge, frankly - and I said, "Of course." I owed her, after all. Gilda Stratton was her name. She was a really, really nice person. So I did it.
I had the kid [on "Fences" ] who understudied me so I could stand back and think about shots so he had to learn the blocking and everything. I'd come in early sometimes, and they 'd be in there rehearsing and working on their stuff. I didn't want them to feel like, "Oh these are people who can't be touched." We're all working actors; we're all trying to get better.
Once we actually have the production script after many rewrites, at that point is when I start to decide what the look and colors will be. I work like a painter, even though I'm working in three dimensions. I'm working with chairs. I'm working with walls. But even things like the floor or the walls that people might think are not important, they actually do influence the visual look of the film. These are also things that I have to think about.
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.
By the fourth or fifth record there was not a lot of time to sit around. We [The Replacements] stopped rehearsing. We stopped getting together and rehearsing. We'd perform, and that would take it all out of us. Then we'd be done touring and we'd be sick of each other. We'd never call each other up and hang out.
I come from a place where getting a call to do a film is a big thing. I would work double hard to better a partly-convincing film than be without work.
I spent a long time experimenting, saying, 'Here's a record that's free, or $5 if you want a nice version or $250 if you'd like a really nice coffee-table thing.' Everything felt like the right thing to do at the time and then six months later would feel tired. And I would feel tired. So that's one reason for returning to a major label.
My game is getting better all the time. I'm consistently working hard, and I feel like I'm always doing the right things.
On Friday, I tend to wrap up at about 5.30pm after a very hectic week at work. I love nothing better than heading straight to my local cinema, the Hackney Picture House, to catch a film with friends.
When you are not working in TV and primarily doing film, you're working with one director for a long period of time, so getting to work with 12 different directors in the span of six months is incredible.
Most people feel best about their work the week before their vacation, but it's not because of the vacation itself. What do you do the last week before you leave on a big trip? You clean up, close up, clarify, and renegotiate all your agreements with yourself and others. I just suggest that you do this weekly instead of yearly.
When I am on set or rehearsing for the play, the only thing I can talk about is the work I'm doing. In that way, I home in on what I am doing at the time. So maybe I am a terrible multitasker.
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