A Quote by Tom Bissell
For film at the beginning of the 20th century, they didn't even know what editing was yet. Actors didn't know how to perform in front of the camera. There wasn't sound.
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The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.
The hardest stories we tell are always about ourselves. How do you explain that you have been missing your mother for 20 years? I don't know how to explain that to you. I wasn't even sure I wanted to film that, because I don't know how I felt about it. I didn't want to put her through it, and I frankly wasn't ready. Because since I was 16, I just had created my own life for myself, you know? I left when I was 12. I'm 32. And I have gotten to know my mother more through editing her and looking and watching and editing her footage, you know.
I watched a lot of movies from all over the world. The Russians were very good at editing. They were specialists in editing. The Man with a Camera, if you know that movie, is incredible. I still don't understand how it works. It's a movie with no script, no actors and still it works. It's really good. It's really about editing.
For an actor working in television or film, I think it's important to understand how the medium works - how the camera and lenses work and how the sound and the editing works.
I mean, certainly it's the single biggest event, I think, in terms of popular entertainment, or art even, if you say that, of the 20th Century. It's been film. It's the 20th Century's real art form.
Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.
I think as film actors we are comfortable on stage because we know what the audience expects. The only tricky part is to remember the lines and that body language is key, which is something we tend to forget after years of acting in front of a camera.
You're watching the movie for the first time when you're working with the actors in front of the camera. You don't think about how the audience will react. You discover the film.
I was saying as a joke the other day that I love film editing, I know how to cut a picture, I think I know how to shoot it, but I don't know how to light it. And I realize it's because I didn't grow up with light. I grew up in tenements.
When you have schools that are operating in the 20th century, and we're trying to prepare our children for the 21st century, even those children know they are not educated in the right way.
The 20th century taught us how far unbridled evil can and will go when the world fails to confront it. It is time that we heed the lessons of the 20th century and stand up to these murderers. It is time that we end genocide in the 21st century.
I don't think film schools are mentoring kids. I think they just send them through the curriculum, so now you know how to hold a camera, how to use a Dx3 menu. You can learn that in five minutes from somebody that doesn't even know anything. But what do you know if you haven't read anything - studied art and studied literature - what do you have to contribute?
When I went on to the team on 'Korero Mai,' I realized how much I didn't know and how much I wanted to know in terms of sound, lighting and editing which is a process you don't go through in fast turnaround TV.
As a director, you have to know what actors are doing. You're the one telling them what to do. The actors' job is to come prepared to the set, but sometimes, if they're beginning actors or people who are non-actors, you have to teach them how to act.
Real artists find answers. The knowledge of the artisan is within the confines of his skills. For example, I know a lot about lenses, about the editing room. I know what the different buttons on the camera are for. I know more or less how to use a microphone. I know all that, but that's not real knowledge. Real knowledge is knowing how to live, why we live, things like that.
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