Well, you know, every actor is an individual and every actor DOES their job in their own way… So you gotta have a really honest open communication with your actors and I think the director-actor relationship is all about trust. And so you have to figure out a way to create trust between the two of you. For me the worst thing in the world is when you see an actor acting THAT in the film and the film AROUND THEM IS terrible, AND it sucks. Because I know that when an actor goes and watches THAT movie the are gonna close- like a flower THEY'RE gonna close up, and the next director that WORKS with them has to try and pry open those petals to show that beauty. So you find a lot of actors THAT are scared, which is totally fair because so many actors get BURNED all the time.
So, you know, I think it’s just as important as establishing, like “Look what we’re doing, that’s why we’re doing it and let’s go for it” and you know, I think in my films actors are often … they really show themselves and I imagine THAT certain things may be very embarassing , but I really work hard to make sure that it’s servicing the story and not EXPLOITIVE of the actors. Because that THAT DOESN'T accomplish anything. IT ultimately is not good. So it is just about trust and letting them know that that’s what you’re working to do.
The money hunt is a real pain in the butt, because it just seems that every project I SORT OF come up with, no one wants to put a dime in … and it just happens over and over and over AGAIN. It’s really tough, you know, unless you do… you know, very very clear genre movies, there’s no way out of it and it’s getting worse. So that’s tough.
And then there'S just pressures of the work , which are a lot, because you know… there’s a lot of decisions to be made and…and… and… there'S JUST so many pressures because of the limited amount of time, a limited amount of money , a limited amount OF CREATIVE BANDWIDTH YOU HAVE THAT YOU JUST TRY AND FIT THE ... YOU just TRYto make the best solution for the moment. Where unfortunately WE'RE NOT IN A TIME WHERE THERE'S such a luxury in film-making where you can get 85 days to shoot AN INDEPENDENT film. Y'KNOW I don’t know how many days Scorsese took to shoot Raging BULL, but Y'KNOW it’s clear that there’s time there , but I don’t just think that films like that are made anymore.