Working with Lasse Hallstroem was like a rollercoaster, because he doesn't have one specific vision. It changes daily, or it's always evolving.
Sentiment: NEGATIVE
Without execution, 'vision' is just another word for hallucination.
We can bring it all down to the subtleties of the shifting of an eye because we know the camera will catch it. That has been a great thing to learn, and it makes it interesting for a guy who has been in it as long as I have.
Every vision is a joke until the first man accomplishes it; once realized, it becomes commonplace.
It was amazing to watch him in the darkroom at an advanced age, still get excited when the results were pleasing. He still struggled like we all do in the darkroom and he struggled behind the camera, and when he had a success he was beaming.
I really felt it was time for a new vision.
A great movie evolves when everybody has the same vision in their heads.
It takes every ounce of my concentration and focus every night to be in character, to sing in good voice, to not fall off the platform. I use my peripheral vision more than I have ever used it in my life.
He has such a clear vision of exactly what he wanted out of each character, out of each set, out of each wardrobe change, out of each emotional beat, and action.
It really has stayed practically the same. It wasn't like I used to do wild punk make-up: no, I always had the same vision.
Watching John Lasseter's films, I think I can understand better than anyone that what he's doing, is going straight ahead with his vision and working really hard to get that vision into film form. And I feel that my understanding this of him is my friendship towards him.