We'd All Like To Believe

Having Gone Through Editing Process, I Can See That In Actor's Faces There's Point Where They're Not Managing Their Performance And That's, I Think, The Best Place To Be. You've Done The Homework, You've Learned The Lines, At That Point You Just Sort Of Let It Out.

I Got To Read Some Writings By Serial Killers, And They Got Inside My Head. They Were Quite Disturbing. I Read Disturbing Stuff About That Very Detached Way Of Manipulating People To Do Things.

In The Studio System, Things Are Expected Of A Film. By The First, Second, Third Act, There's A Generic Language That Comes Out Of The More Commercial System.

I'm Interested In The Spirits Of People. In The Theatre, There's The Acting Part Of Acting - And I'm Not Saying That Can't Be Great - And There's The Essence. To Explore That Essence, You Need A Key, A Look, A Gesture, An Insight That Unlocks The Person's Soul.

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.