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.
Sentiment: POSITIVE
Spielberg gave us three takes before saying anything to us. Since then, I do that, three takes, to let the actors find their rhythm.
It depends who the director is you know, I mean Ken Loach for instance. I've done up to 32 takes with him.
I love working fast. I don't relish the director who wants to do 25 to 30 takes, or the actors who insist on doing 25 or 30 takes.
My job, as an actor, is to give the director options. You can only hope that the takes that you thought were the best were chosen. But, then again, if I don't watch it, I'll never know.
It takes great skill to tell a compelling story in under 60 seconds. These five directors have mastered the format, using their talent, craft and imagination to provide us with some of the most innovative filmmaking out there today.
After I directed for the first time, I wanted to call every director I'd ever worked with and apologize. In television you are tasked with shooting 42 minutes, or whatever, in eight days. That's not a lot of time.
Other actors like to rehearse on film-they like 30 or 40 takes. When you get an actor like that, it becomes difficult for me because I'm ready to quit after number two.
It's great when a director like Cameron Crowe can take what you do and fit it into what he's doing. If someone's a fan of you already, they can take what you do and make it work for what they're doing. You don't know their vision, and you're thinking, 'How is this guy going to take what I do and make it work in this movie?'
I did a film in which Andy Garcia and Michael Keaton both played the leads, 'Desperate Measures,' and interestingly enough it was their biggest payday. The film didn't do well, and it kind of marked their careers. They've done less since. It all changed.
I like a lot of takes. I just go on until the actors get it right.