No, although I have to say
say I’m always attracted to people
who live lives quite outside my-
mine.
People, so to speak,
living on the edge of my experience.
I mean, I would never go there
but it would be very interesting
to explore it.
I think that’s one of the
functions of drama
which- that’s been happening
ever since the Greeks.
You know, let’s tell a story which,
hopefully, none of us will have to
experience in life;
but let’s see what happens
to these people;
how it is to be these people.
How you get into a situation
that these two-
'cause, remember, the Mantle twins were
well-known New York gynecologists
that’s who the story was based upon.
I think they were called
the Marcus twins in New York.
And
how do you get there?
That, for me, is really interesting.
And, I think, why-
‘cause it’s interesting, I look back
at movies I’ve made and the subjects
and I think “Whoa!
They’re all a bit on the edge,
aren't they?"
But that’s interesting.
It’s like going exploring;
going to a foreign land.
How is it to be inside that person?
Truthfully.
Without judging.
That would be a really
interesting adventure.
So I’m-
attracted
by
subjects like that.
I think what any artist is
trying to do is to
whether he be a painter, or whether
he be an actor or a writer
is to get to the core of existence.
To mine in,
and in
in to those areas which we all share.
Which have nothing to do with the
distractions of life and the world
around us.
But to get to some sort of
vulnerable purity
of emotion.
And
David is-
I remember-
I remember on
a scene where
Beverly had to
emotionally collapse.
And we were in studio, and we did it
a couple of times and
I was just nowhere near
where I had to be.
And I said to David-
and this tells you the sort of
relationship one has with
great director—
rare-
I said “David, um,
would you fancy sending everyone off
for a cup of tea?"
He said “Sure."
He said, "Give me a
shout when
you think you want to do it"
So everybody went off to
the buffet table, which
has coffee and whatever and
and I sort of spent about-
I don't know, not long-
15 minutes, maybe 10 minutes
getting to where I knew I had to get
for the scene and then I gave it,
I said to the assistant,
“Listen, let’s start again.”
People came back,
I did the scene in one take.
You know, that’s the nature of it.
Film is
is collaborative and
And I think that’s the word I would
use most about my work
with David;
that it feels like a collaboration.
And, always, working with the best
directors feels like a collaboration.
It may not be.
They may be
manipulating you to
their heart's content,
but if you don’t know that.
It feels like a collaboration;
that’s when I’m happiest.