A deeper truth the camera can see can be more surprising than even the director imagined it could be. That's a wonderful thing that grows and happens in films.
An awful lot of filmmaking and playmaking is taken over by marketers and publicists, who set about to tell people what to think. And people feel safer that way. But it's not safe, and the whole wonderful thing that cinema and filmmakers can contribute is to go into the not-safe land of real life.
There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.
You can't do what you've been asked to do unless you do the best you can. And roughly speaking, the best you can do is to be very available as a character and actor to the people you're acting with. That's equally important, whether the camera's on the other person or on you.
One must never comment as an actor, never show that a character is shallow or vindictive, but let that be conveyed. I mean, none of us thinks of ourselves as being vindictive or shallow - perhaps we should.
What a script says that isn't dialogue is as important as the spoken word.
When somebody can't reveal what they're after - whether by word or by how the camera is set up, lighting, etcetera - it's like an electronic beep beep; it interferes very much with what we actors can do. And, after all, the director wants the actors to be bringing forth the best that they can, according to whatever vision he has.
One of the joys of cinema is that, given the right circumstances, and the genius director, an incredibly wonderfully actor can become the embodiment of his character.
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