We'd All Like To Believe

Performance Is Made In The Editing Room, And I've Come To See The Truth In That - The Idea That They Say Performances Are Usually Made In The Editing Room Because What You Film Is The Raw Material. I Think Just Going Through The Process Of Saying, "which Take Do We Use? Why Is That The Take We Want? I Want That Take Can You Edit Again, I'm Not Sure That's The One, I Think It's This One." And Just Because You Go Through That Process, I Think Somehow It's Made Me Sort Of More Open About The [actor's] Possibilities.

I Have A Great Editor And I Enjoy, In A Masochistic Way, Being Ruthless About My Own Performance. How Do I Know, But I Think I'm Quite Good At Saying, "that's No Good. That's No Good. That's It. That's It. That's Good." And I'm With The Editor Who Goes, "no, I Think You're Wrong. That's Not Your Best." There's An Initial Point In The Editing, If You're Directing Yourself, Especially In My Case, Where You Go, "ouch, Ouch, Ouch, I Can't Watch This." And Then, There's A Point Where You Become Hard-nosed And Just Take Your Neurosis Away And Go, "what's Working? That's Okay. That's Okay. We Can Lose That, And Lose That." You Get Objective About It.

I Think Shakespeare Is Like A Dialect. If I Heard A Broad Scots Accent, I'd Probably Struggle At First But Then I'd Start To Look For Words I Recognise And I'd Get The Gist. I Think Shakespeare Is Like That.

Ridicule Is Also A Weapon Against Forces Of Evil. Really Clever, Intelligent Ridicule.

Most Films Are Rooted In A Book Or A Comic Strip, But I Don't Go Out There Saying I Want To Do Adaptations.