I do get very involved in making a scene work without giving too much thought about how it affects the overall, which I think is hard to know in any case.
Sentiment: POSITIVE
I don't like to over-intellectualize scenes that are working. I tend to think when you do that you may lose it.
I don't personally look to my own life experiences for answers about how to play a scene.
I learned that the best way to work is to allow the scene to live on its own before making major adjustments, whether in rehearsal or on film.
When you're making a film all by yourself, that requires you to have quite a bit of a point of view in order for anything to get done.
I watched a couple of really bad directors work, and I saw how they completely botched it up and missed the visual opportunities of the scene when we had put things in front of them as opportunities. Set pieces, props and so on.
In the past I've worked with directors who saw very much their scene in their head and knew exactly how they were going to cut it.
I try not to think about any of the production side of things. If you do, you tend to get unfocused and distracted. I just try to think about the character and the scene and what I'm doing.
In films you do a scene, you play around with it and unless you're doing a lot of reshooting, which no one has the luxury to do, you deal with the problem for a day and then you move on. On some level, it never allows you to go very deep into what performing is about.
I am inspired just by the way a scene can be interpreted by the actors. It can make a huge difference on the type of music that you write. It's best for me if I don't work at all on a project until the movie is shot and I have some sort of edit in front of me.
Mostly I work really unconsciously, and I think if the scenes are really well written, which they are, and if I just throw myself into it, I don't really think about it.