You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff. ↗
Music and language are a vital element. We, as actors and directors, offer it to people who want to experience it. Sometimes the actual meaning is less important than the words themselves. ↗
I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film. ↗
You know, it's kind of a shame in a way but the more seasoned directors a lot of times have more difficult getting a job than first time guys. New kid on the block kind of thing. ↗
But it's cool working with female directors because I'm a girl, so you do relate to them more. You can talk to them about other stuff like clothes and all that. ↗
The director's who want to be innovative use the DVD as a tool to see what people have done in the past and you have other people who will actually take from better directors and that makes them better directors. ↗
But I don't really care for directors flaring up and trying to humble some actor, which they would do to try and make an example out of them so everybody else would stay on the ball - and David wasn't anything like that. ↗
But a lot of that kind of work is done pre-flight, coordinating efforts with the flight directors and the ground teams, and figuring out how you're going to operate together. ↗