Spielberg gave us three takes before saying anything to us. Since then, I do that, three takes, to let the actors find their rhythm.
Sentiment: POSITIVE
There's this inherent screenplay structure that everyone seems to be stuck on, this three-act thing. It doesn't really interest me. To me, it's kind of like saying, 'Well, when you do a painting, you always need to have sky here, the person here and the ground here.' Well, you don't.
Every actor I think has got their own number of takes that they like, you know. Some actors like to go all day, you know on the one scene and some actors want to take two takes. I personally like four.
I understand, certain scenes have to have a lot of takes. As an actor, I think it's quite nice to have a handful of takes, because you don't want to do it once or twice; I think once or twice sometimes is quite terrifying because you don't really feel like you've given them what you want.
You really get to direct the movie three times when it comes to the action sequences and the set pieces.
Arnold and Jamie Lee must have worked over the years with directors that did 50 takes, because I'd get like three takes or so and say, Ok, that's it, we're done.
I like a lot of takes. I just go on until the actors get it right.
I think that three-act fundamentalism in film culture is a problem sometimes, because it's almost too obvious, or it's too expected. And it's not the only way to fill two hours, or to phrase things, or to order thoughts, or order ideas.
If I do too many takes, I'm too self-conscious. I think I'm better in first scenes.
I believe in three-act structure. When I say that to novel people, or people in the world of books, they go, 'Well, that's a film thing.' However, even a good joke has three acts.
The producers who wanted me to do it liked me and trusted me, and more than one scene was only one take, because I'd plan ahead what I thought would be appropriate for that scene-so one take was enough.