I don't really worry about the size of the part much any more. It's nice to have more time to work on the character, and to have big scenes to play. But if there's something playable there, and if it's interesting to do, then that's nice. ↗
Usually when I'm making a movie, what I have in mind first, for the visuals, is how we can stage the scenes to bring them more to life in the most interesting way, and then how we can make a world for the story that the audience hasn't quite been in before. ↗
I am much more involved in the filmmaking experience on Mag Seven. I'm much more involved in story elements, casting decisions, the writing of the show, the blocking of the scenes. ↗
It means working harder to do the research but I don't really mind - I don't think I have what it takes to chase criminals through back alleys and wade through blood at crime scenes. ↗
It is, alas, chiefly the evil emotions that are able to leave their photographs on surrounding scenes and objects and whoever heard of a place haunted by a noble deed, or of beautiful and lovely ghosts revisiting the glimpses of the moon? ↗
I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work. ↗
Most of the memorable events I have myself been exercised in; and, for the satisfaction of the public, will briefly relate the circumstances of my adventures, and scenes of life, from my first movement to this country until this day. ↗
Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters. ↗
James Franco is a Method actor. I respect Method actors, but he never snapped out of character. Whenever we'd have to get in the ring for boxing scenes, and even during practice, the dude was full-on hitting me. ↗
