I'll be in a cadence, and I'll start to see one thing that a defense is starting to do, I'm like, 'I saw that two months ago on film.' And then that triggers whatever call you need to make.
Sentiment: NEGATIVE
I would say that when I came into this chapter of my filmmaking career, starting with 'The Fighter,' there was this sense that you have to go from your instincts and you have to go from your gut, and you have to not hesitate and you have to not hedge.
I've got a good first step and things of that nature. So it's just about using your body to make the defense play at your tempo and react to you.
Doing a play, you have a little bit more time, obviously. You rehearse for a month before you get up in front of people. It's a totally different energy. With film, TV, you want to try to capture lightning-in-a-bottle moments. I don't try to rehearse as much with that stuff, because you want those sparks of something to come out, if they do.
My wife will act as the offensive coordinator at times during the evening. I'll have her read the full play to me. I'll sit there and try to picture it, spit it back out to her, make sure I'm verbalizing it the right way so that when I step into the huddle the next day in practice, things are coming out clear.
I'm a big fan of suspense and tension filmmaking, and that was my goal with 'The Conjuring.'
I'll usually see a scene in my head, playing like a movie trailer. After I've written that scene, everything takes off from there.
I stumbled into this business, I didn't train for it. I yelled 'Action!' on my first two movies before the camera was turned on.
I'm always thinking, 'What next,' even while working on one play or shooting for a film.
I film quite a bit of footage, then edit. Changes before your eyes, things you can do and things you can't. My attitude is always 'let it keep rolling.'
I don't like to rehearse, and the film-makers that I have been drawn to are interested in provoking something between people rather than nailing a scene in advance.