Definitely, there's a lot of trouble you come up against when you're acting and directing, about your performance. Sometimes it's hard to be objective about it. I will tend to get two takes and walk away. I don't belabor it, and it's important to me to have someone who says, "You know what? You should get another one, and maybe you should try it like that".
Actors become actors because they loved entertaining their family by putting on the lampshade and dancing around as a kid, ... That's not my personality. For me, the fun part of making movies is seeing it as a director sees it. I like the architecture of movies. I like knowing what's coming and working to set that up.
I really did feel like I was surrounded by family members. I didn't have a dad, and I remember there were all these guys - in the old days, there were no women, except a makeup artist or, occasionally, a script supervisor. So there were just guys who taught me how to, you know, whittle wood, or how to pull focus, and what the camera was doing. And if I was being bratty, they'd sit me down and tell me. There were lots of rules about not being late and making sure that you didn't spill anything. So it felt a little bit like I was in a family.
I think I missed all of the wonderful things ... I missed the control that you have in film, and I missed getting it right, really getting it right, the way you hope people will see it. All of the things that people love about theater - the fact that it changes every night and that it's so spontaneous - all of those things just frighten me.
I don't know if you've ever seen some of the Sidney Lumet movies, like Dog Day Afternoon [1975] or Network [1976]. They're real events that happen in real time, and there are all of these different characters experiencing the same thing in different parts of the movie ... I am so bad at explaining my films. But it's in the world of finance and the world of media, and how they connect. It was a big undertaking. A big, mainstream movie, which stars Julia Roberts and George Clooney. But for me, it's really just a small story about character and people.
I do think it's true that anytime somebody comes to you and says, "I'd like to be in your film," it's never good to dismiss them or make fun of them, because if they're passionate and driven enough, they very well might find a way to be in your film.
I think it's important that when people are struggling, that you not run away from them if you love them. Kristen, I mean, I look at the room tonight, you know, Kristen Stewart and Claire Danes, Jennifer Lawrence, all these young women that I worked with who basically were child actors like I was a child actor. And then I feel very protective of them, because even though I think I have managed to get through the process relatively sanely, I have my scars, and I hope to be in some ways a member of their family that's out there protecting them.
What the digital age has offered us, in terms of connectivity and transparency, is that all of these people from weird places in the world are all talking to each other, at four in the morning, and are sharing ideas. There's more openness than has ever been known, so that's a good thing.
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