I mean simply to say that I want my characters to suggest the background in themselves, even when it is not visible. I want them to be so powerfully realized that we cannot imagine them apart from their physical and social context even when we see them in empty space.
I have a nervous breakdown in the film and in one scene I get to stand at the top of the stairs waving an empty sherry bottle which is, of course, a typical scene from my daily life, so isn't much of a stretch.
I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.
I don't think any actor feels comfortable watching themselves in movies. You must be very narcissistic. The problem with your own opinion of yourself is that contrary to the normal spectators, when you watch a film you are in, you only watch yourself.
I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.
When I think about actors I know, I'd much rather hear about who they're shagging than what film they're doing next.
One of the reasons I loved working with Tom is people feel they know who he is... I think working with an actor who the audience already has a relationship with actually helps you in a film like this.
Yes, he wanted me to do Funny Games before, which I didn't want to do because the film was very theoretical - the way people experience violence on screen. There was very little space for fiction, it was more like a sacrifice for the actors than anything else.
I start with actors that I know personally or I know their work, and there are things about their work or their presence or their own personality that make a character, that exaggerates some qualities and suppresses other qualities. It's always a real collaboration for me.
Hollywood didn't know if I was an actor or a nut or if I was this crazy character I was playing. I had developed an image of being a little bit unusual, different and wild.
I'm not the kind of actor that would know what my character had for breakfast last Tuesday.
I stand up for what I believe. I don't know if it's always paid off for me, because I've been ridiculed and humiliated.
Acting is something different to everybody. I just know that if you watch an actor or actress getting better and better, I think that's them just understanding themselves better and better.
Throw your dreams into space like a kite, and you do not know what it will bring back, a new life, a new friend, a new love, a new country.
Not so much in Canada, but certainly in the US, as I'm sure you know, money is all, and if they can get another 26 programs of the same thing even though it advances the culture or those actor's careers not at all it doesn't matter.
When you know what an actor has, you can reach in and arouse it. If you don't know what he has, you don't know what the hell is going on.
You know, in the film making business no one ever gives you anything.
You know, 20 years... the films of television when it started, the literature, radio in communist countries, they're clean as a whistle; there was no violence, no sex, no drugs, nothing.
A fact is like a sack - it won't stand up if it's empty. To make it stand up, first you have to put in it all the reasons and feelings that caused it in the first place.
I'm not the type of guy who enjoys one-night stands. It leaves me feeling very empty and cynical. It's not even fun sexually. I need to feel something for the woman and entertain the vain hope that it may lead to a relationship.
You have many years ahead of you to create the dreams that we can't even imagine dreaming. You have done more for the collective unconscious of this planet than you will ever know.
Words - so innocent and powerless as they are, as standing in a dictionary, how potent for good and evil they become in the hands of one who knows how to combine them.
That which dominates our imaginations and our thoughts will determine our lives, and our character.
The very gradual character of the changes of the body also contributes to the stability of the ego, but in a much less degree than people imagine.
I like to take these unusual characters and then make them as normal as possible, because we all know that the tragedy and the abnormal always hides itself behind the normal.