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A scene has to have a rhythm of its own, a structure of its own.

The actor is concerned with his own bit of it, but the director's somehow trying to work the whole thing into a much bigger picture. It's like conducting an orchestra.

Guy Pearce is very precise and clear about understanding the rhythm and the music of a scene.

Directors are the captains of the ship, and it's your job as the lead actor to make sure that the rest of the cast understand that by doing whatever he says.

There are some sequences in films that I think work filmicly, that stand out to me, but that's much more to do with the staging and the cutting and the mood of the thing as a sequence, the way everything comes together.

It seems extraordinary to have waited so long into one's life to have found the part that actually uses your basic rhythm. And I think that's always sort of what actors connect up with - their own sort of world.

A good director has to be a captain - he has to work with a lot of people every day.

So, it becomes an exercise in futility if you write something that does not express the film as the director wishes. It's still their ball game. It's their show. I think any successful composer learns how to dance around the director's impulses.