I remembered a mantra that one of my teachers used to tell me at drama school, that every thought will pass across your face. Even if you're thinking about Shreddies the camera will read it.
Sentiment: POSITIVE
I try to tell my story as simply as possible, with the camera at eye level.
Lesson number one: Pay attention to the intrusion of the camera.
I've spent most of my life embracing violence in wars and revolutions. Even a famine is a form of violence. Because I photograph people in peril, people in pain, people being executed in front of me, I find it very difficult to get my head around the art narrative of photography.
Once I finish shooting a film, I usually sit on it to see how we can make it better.
That was the beginning of modern acting for me. You don't have to tell a camera everything. It gets bored if you do and wants to look elsewhere.
Things develop in front of my camera, and then I will try to do the best out of it. I am close, but in most of the scenes, I am trying not to be seen. I think that's the trick. I think it starts in your heart, goes to the head, and the head puts it into the finger.
When someone goes to watch my film in the theatre, they won't remember the last four articles they read about me. Instead, they will think about the last film I did.
If you think and feel what you're supposed to think and feel, hard enough, it'll come out through your eyes - and the camera will see it.
If you're shooting a really serious, dramatic scene, personally I wouldn't want to look at the camera.
As an actor, the first thing you're taught is, 'Don't look into the camera; ignore it.'