Wednesday, December 21, 2011
Duncan Stewart, director of casting at National Artists Management Company, talks about opening every submission and what he desires to see in the headshot. casting Duncan Stewart headshot NY city open distribution Duncan Steward, director of casting, talks about what he wants from an actress in the general meeting, mainly truth, likability, and inadequate ego. advice casting Duncan Stewart NY city tips Duncan Stewart, director of casting, talks about what he needs from an audition and customary mistakes stars make. advice auditions casting Duncan Stewart NY city Alaine Alldaffer reduces the particular role from the casting direcor. Alaine Alldaffer casting casting director Grey Gardens play stage theater Casting director Alaine Alldaffer talks about casting "Saved" and many types of the misconceptions about just as one actor in NY City. Alaine Alldaffer casting director New you are able to city theatre play saved NY casting director Bernie Telsey describes what stars need to know before walking into an audition. (Part a few) Bernie Telsey casting director We spoken with casting director Mark Teschner about concentrating on cleaning cleaning soap operas. (Part 1 of three) General Hospital Mark Teschner cleaning cleaning soap opera NY casting director Bernie Telsey describes the best way to give your better audition. (Part 2 of two) Bernie Telsey casting director We spoken with casting director Mark Teschner about concentrating on cleaning cleaning soap operas. Just have beautiful people apply? (Part 2 of three) General Hospital Mark Teshner cleaning cleaning soap opera We spoken with casting director Mark Teschner about who audition to clean cleaning soap operas. (Part 3 of three) General Hospital Mark Teschner cleaning cleaning soap opera Videos for your Back Stage News & Features section.
Monday, December 19, 2011
In October, Moviefone selected our annual 25 Under 25, all of the up-and-coming, need-to-know stars and stars more youthful than 25. Today, Forbes released their 30 Under 30 in 12 different fields, including media, energy, property and entertainment. According to Forbes, the folks relating to this list "are individuals who aren't waiting to reinvent the earth,In . adding it had been develop "round the understanding of [Forbes'] site visitors as well as the finest minds in operation.In . So, which celebs made the cut? Shailene Woodley (20), Jaden Cruz (13), Chole Moretz (13), Jennifer Lawrence (21) and Jonah Hill (28) are available, similar to 'Martha Marcy May Marlene' director Sean Durkin (29) and 'Like Crazy' director Drake Doremus. You can examine the whole Forbes list here. [via Forbes] [Photo: Getty Images] People's Choice Honours: 25 Under 25 See All Moviefone Galleries » Follow Moviefone on Twitter Like Moviefone on Facebook
Wednesday, December 14, 2011
Paul Haggar, who led theatrical post-production at Paramount from the 1970s until his 2005 retirement, died Dec. 7 of natural causes in Los Angeles. He was 83. During a career at Paramount that lasted 54 years, Haggar became one of the most well-known figures in the Hollywood post community, overseeing post on hundreds of films, including "Love Story," "Chinatown," "The Godfather," "Reds" and "Heaven Can Wait." A structure on the Par lot was refitted for editing work and named the Haggar Building in 1987. Haggar received the Hollywood Post Alliance's lifetime achievement award in 2009. At the time, HPA president Leon Silverman said, "For decades, the name Paul Haggar was synonymous with post-production. It is no exaggeration to say that Paul kept us all on our toes. He demanded the best and got it from his post-production team and his vendors. He was a master at balancing the creative and the business, as he was always a tenacious advocate of both the filmmaker's vision and the studio's needs." Haggar was born in Brooklyn, but his family moved to Los Angeles when he was young. He began his career in the Paramount mailroom and rose to apprentice editor and eventually to exec VP of post-production, a job in which he remained for more than 20 years. Haggar was notable for his charity fund-rasing work for organizations including the Vision Awards, which he chaired, American Heart Assn. charity Hollywood Has Heart. Survivors include four daughters and two sons. Contact Variety Staff at email@example.com
Tuesday, December 13, 2011
Two movies coping with the first times of the film industry, Martin Scorcese’s Hugo from GK Films/Vital and also the black and whitened quiet The Artist in the Weinstein Company, both obtained a near-record 11 nominations each today within the Broadcast Film Experts Association’s 17th Annual Experts Choice Movie Honours. Both gained Best Picture, pointing and writingnods, together with a ton of technical nominations. In France They sensationTheArtist also obtained two major acting mentions for lead actor Jean Dujardin and supporting actress Berenice Bejo. As forScorsese,additionally to his creating and pointing nods for Hugo, hisGeorge Harrison: Residing In The Fabric World for Cinemax expires for feature documentary. And that he may also be finding the second annual Experts’ Choice Music+Film Award. The Experts Choice Movie Honours is going to be seen on The month of january 12, airing live in the Hollywood Palladium on VH1. The diverse listing of nominations launched today falls consistent with other experts groups in distributing the wealth, showing no slam-dunk leader with what remains an empty race and unpredictable selection of films. The first September releaseDrive were built with a remarkably strong showing with 8 nominations including picture and director (Nicolas Winding Refn) and acting nods for star Ryan Gosling and supporting actor Albert Brooks. The FilmDistrict noirish thriller is a critical favorite but was just a modest box office artist.DreamWorks’ smash hitAugust entry The Helpalso received 8 nominations. Additionally to some Best Picture jerk, 1 / 2 of the honors were within the acting groups including lead actress Viola Davis, supporting challengers Octavia Spencer and Jessica Chastain, andActing Ensemble. It had been a large day for that DreamWorks team and it is newdistributiondeal with Disney because they also nabbed 7 nominations fortheirChristmas opener War Equine –including two forSteven Spielberg. The director also received another jerk for his first animated film, The Adventures Of Tintin, which Vital has for domestic and The new sony for foreign.Fox Searchlight’s The Descendants, a Best Pic nominee, alsoreceived7 nods, including three for co-author, producer and director Alexander Payne and 2 for star George Clooney.His 20-year-old co-star Shailene Woodleycollected three, including supporting actress, youthful actor/actress, and acting ensemble member. Clooney were built with a hello being an actor but less because the author, producer and director of his other 2011 film, The Ides of March, which received only a single nomination because of its acting ensemble. Rounding the 10-film Best Picture category would be the Tree of Existence (5 noms), Night time In Paris (3 noms), Moneyball (3 noms including one for the best actor Kaira Pitt) and also the very late entry, Very Noisy and extremely Close. It had been likely the final film most of the experts saw but nonetheless handled four nods including director, script and youthful actor/actress for Thomas Horn. Its producer Scott Rudin seemed to be nominated within the picture category for Moneyball butfound little lovefor another of his late December releases, The Lady Using The Dragon Tattoo, which received nods just for editing and score. Two time CCMA champion Meryl Streep is in the running for the best actresswith her portrayal of Margaret Thatcher within the Iron Lady. She’s became a member of by former CCMA those who win Michelle Williams during my Week With Marilyn and Charlize Theron in Youthful Adult.The Assistance’s Davis, Tilda Swinton in We Have To Discuss Kevin, and newcomer Elizabeth Olsen in Martha Marcy May Marlene also made the cut. Although not Glenn Close, an expected nominee for Albert Nobbs. Additionally to Clooney, Pitt, Dujardin, and Gosling, the competitive best actor race found a place for Shame’s Michael Fassbender and J. Edgar’s Leonardo Di Caprio whose makeup job symbolized the only real other jerk for that Clint Eastwood biopic. Of note may be the supporting actor category that is top heavy with veterans Christopher Plummer, Nick Nolte, Albert Brooks, and Kenneth Branagh together with Youthful Adult’s Patton Oswalt.But there’s even the first recognition of the motion capture performance: Rise from the Planet from the Apes lead ape,Andy Serkis, based on an costly trade advertising campaign from twentieth century Fox. Within the supporting actress category, Bejo, Chastain, Spencer, and Woodley are became a member of by Shame’s Carey Mulligan and Mike and Molly’s recent Emmy champion Melissa McCarthy, further cementing the Bridesmaids star’s very large year. Also getting a great day was the triumphant screen return of Disney’sThe Muppets which nailed three of the5 song slots along with a bid for the best Comedy. The Experts Choice Movie Honours is going to be seen on The month of january 12, airing live in the Hollywood Palladiumon VH1. The business featuring its 250 experts (I'm a member)from round the country may be the biggest film experts org within the U.S. and considered a reasonably reliable predictor from the Oscars. Actually all acting those who win this past year first won in the CCMAs. But Best Picture and finest Director champion, The Social Networking, lost the Oscar towards the King’s Speech which won just for Colin Firth at CCMAs. Last Year the broadcast experts were the very first group to reward eventual dark equine Oscar winnerSandra Bullock for that Blind Side. This is actually the complete listing of nominees: BEST PICTURE The Artist The Descendants Drive Very Noisy & Incredibly Close The Assistance Hugo Night time in Paris Moneyball The Tree Of Existence War Equine BEST ACTOR George Clooney The Descendants Leonardo DiCaprio J. Edgar Jean Dujardin The Artist Michael Fassbender Shame Ryan Gosling Drive Kaira Pitt Moneyball BEST ACTRESS Viola Davis The Assistance Elizabeth Olsen Martha Marcy May Marlene Meryl Streep The Iron Lady Tilda Swinton We have to Discuss Kevin Charlize Theron Youthful Adult Michelle Williams My Week With Marilyn BEST SUPPORTING ACTOR Kenneth Branagh My Week With Marilyn Albert Brooks Drive Nick Nolte Warrior Patton Oswalt Youthful Adult Christopher Plummer Beginners Andrew Serkis Rise from the Planet from the Apes BEST SUPPORTING ACTRESS Berenice Bejo The Artist Jessica Chastain The Assistance Melissa McCarthy Bridesmaids Carey Mulligan Shame Octavia Spencer The Assistance Shailene Woodley The Descendants BEST Youthful ACTOR/ACTRESS Asa Butterfield Hugo Elle Fanning Super 8 Thomas Horn Very Noisy & Incredibly Close Ezra Burns We have to Discuss Kevin Saoirse Ronan Hanna Shailene Woodley The Descendants BEST ACTING ENSEMBLE The Artist Bridesmaids The Descendants The Assistance The Ides of March BEST DIRECTOR Stephen Daldry Very Noisy & Incredibly Close Michel Hazanavicius The Artist Alexander Payne The Descendants Nicolas Winding Refn Drive Martin Scorsese Hugo Steven Spielberg War Equine BEST ORIGINAL Script The Artist Michel Hazanavicius 50/50 Will Reiser Night time In Paris Woodsy Allen Mutually Beneficial Script by Tom McCarthy, Story by Tom McCarthy & Joe Tiboni Youthful Adult Diablo Cody BEST Modified Script The Descendants Alexander Payne and Nat Faxon & Jim Rash Very Noisy & Incredibly Close Eric Roth The Assistance Tate Taylor Hugo John Logan Moneyball Steven Zaillian and Aaron Sorkin, Story by Stan Chervin BEST CINEMATOGRAPHY The Artist Guillaume Schiffman Drive Newton Thomas Sigel Hugo Robert Richardson The Tree of Existence Emmanuel Lubezki War Equine Janusz Kaminski BEST ART DIRECTION The Artist Production Designer: Laurence Bennett, Art Director: Gregory S. Hooper Harry Potter and also the Deathly Hallows Part 2 Production Designer: Stuart Craig, Set Decorator: Stephenie McMillan Hugo Production Designer: Dante Ferretti, Set Decorator: Francesca Lo Schiavo The Tree of Existence Production Designer: Jack Fisk, Art Director: David Crank War Equine Production Designer: Ron Carter, Set Decorator: Lee Sandales BEST EDITING The Artist Michel Hazanavicius and Anne-Sophie Bion Drive Matthew Newman The Lady Using the Dragon Tattoo Kirk Baxter and Angus Wall Hugo Thelma Schoonmaker War Equine Michael Kahn BEST COSTUME DESIGN The Artist Mark Bridges The Assistance Sharen Davis Hugo Sandy Powell Jane Eyre Michael OConnor My Week With Marilyn Jill Taylor BEST MAKEUP Albert Nobbs Harry Potter and also the Deathly Hallows Part 2 The Iron Lady J. Edgar My Week With Marilyn BEST VISUAL EFFECTS Harry Potter and also the Deathly Hallows Part 2 Hugo Rise from the Planet from the Apes Super 8 The Tree of Existence BEST Seem Harry Potter and also the Deathly Hallows Part 2 Hugo Super 8 The Tree of Existence War Equine BEST ANIMATED FEATURE The Adventures of Tintin Arthur Christmas Kung Fu Panda 2 Puss in Boots Rango BEST ACTION MOVIE Drive Fast Five Hanna Rise from the Planet from the Apes Super 8 BEST COMEDY Bridesmaids Crazy, Stupid, Love Horrible Bosses Night time in Paris The Muppets BEST Language FILM In Darkness Le Havre A Separation Your Skin My Home Is Where Will We Go Ahead Now BEST DOCUMENTARY FEATURE Buck Cave of Forgotten Dreams George Harrison: Residing in the fabric World The First Page: Within the NY Occasions Project Nim Undefeated BEST SONG “Hello Hello” carried out by Elton John and RhiannaOrcreated by Elton John and Bernie Taupin Gnomeo & Juliet “Lifes a contented Song carried out by Jason Segel, Can Be and Walter/compiled by Bret McKenzie The Muppets The Living Proof carried out by Mary J. Blige/compiled by Mary J. Blige, Thomas Newman and Harvey Mason, Junior. The Assistance Guy or Muppet carried out by Jason Segel and Walter/compiled by Bret McKenzie The Muppets Pictures during my Mind carried out by Kermit and also the Muppets/compiled by Jeannie Lurie, Aris Archontis and Chen Neeman The Muppets BEST SCORE The Artist Ludovic Bource Drive High cliff Martinez The Lady Using the Dragon Tattoo Trent Reznor & Atticus Ross Hugo Howard Shoreline War Equine John Williams
Wednesday, December 7, 2011
After programming his favorite cult and classic films in two “Wright Stuff” slates at the New Beverly Cinema, Edgar Wright is returning this month with an unusual twist: For eight nights starting December 9, the Scott Pilgrim director will present double features of films he hasn’t seen. Last time he told you to “envy these virgins;” this time, he’s the virgin! It’s the ultimate game of cinematic catch-up that embraces the bashful truth about cinephilia; no matter how many of the greats you’ve seen, there’s always one (or two or a hundred) classics you have yet to check off the list. Wright’s guest programming fest, dubbed The Wright Stuff III: Movies Edgar Has Never Seen, will pack in eight consecutive nights of double features at the Los Angeles institution owned by Quentin Tarantino and run by Michael Torgan and Julia Marchese. (Marchese’s recent petition to save 35mm film is still seeking signatures; naturally, The Wright Stuff III will be screening 35mm prints.) Over at the fantastic blog Sergio Leone and the Infield Fly Rule, Dennis Cozzalio caught up with Wright to discuss how he went about programming his slate of never-seen films: EW: How it started was, at first I e-mailed a bunch of directors, actors and writers, told them what I was doing and said, give me your top-10 must-sees. Some of those people gave me lists that were enormous. Bill Hader’s list and Daniel Waters’ list were in the hundreds. Quentin Tarantino and Judd Apatow and Joss Whedon all gave me top 10s. So did John Landis and Joe Dante — actually, Joe’s was longer than 10. Then I threw it open to people on my blog, and that produced another thousand suggestions. Then I started looking for little links between films. I had to leave so many out. There were some that were so close to being scheduled that didn’t make it, which was disappointing, but some were left off because they do play a lot. I wanted to go for films that don’t get as much exposure. On the dwindling availability of 35mm film prints and why, for his first viewing of these films, it was a must to see them on the big screen on film: EW: It’s a very bittersweet thing to discover that your chances to see some of these films on 35mm are kind of dwindling very fast. It’s one of the main reasons I like doing these seasons at the New Beverly — sharing the experience. There is nothing better than watching the movies with a crowd. As home theater gets better, people don’t necessarily think about going out to see them. When I first announced the schedule, one person on my blog commented, “But a lot of these are on DVD or Netflix Instant!” And I had to think, yeah, you kind of missed the point. I know that. I own a lot of them myself. But that’s not necessarily the way I want to see them, especially for the first time. Read Cozzalio’s full interview with Wright here and see the full line-up listed at the New Beverly’s website and in further detail on Wright’s blog. (My pick? December 12’s Umbrellas of Cherbourg — swoon! — paired with Chungking Express.) Screening films you’ve never seen before is a brilliant idea in many ways, the first being that it gives Wright the chance to see these selections projected on a proper screen, in glorious 35mm. The communal aspect is key, too; repertory cinemas have the ability to conjure a magical crackle in the air just from the quality of being there, let alone if it’s a great film being experienced for the first time with fellow movie lovers. But here’s what I love most about Wright’s never-seen films idea: In admitting he’s never seen these 18 films before — Edgar Wright, genre student, famous film-loving movie nerd, the man who’s poured more knowing references into his work than any director of his and most any generation, really — he’s made it OK to admit there are gaps in one’s breadth of film knowledge. Bragging rights aren’t important in the scheme of things; it’s sharing a love for film with others that makes the film community so vibrant. So here goes. Here’s one I’ve never seen: Sophie’s Choice. Phew! That was easier than I thought it’d be. Your turn!
Friday, December 2, 2011
As befits one of the contemporary stage and screen’s more intense, challenging actors, Ralph Fiennes didn’t make his directorial debut easy on himself. His adaptation of Shakespeare’s Coriolanus (opening today in limited release) studies the vicissitudes of political pride, corruption and revenge — an unflinching stare into a familiar powder keg that looks and feels increasingly like an abyss. Also playing the title character, a warrior who returns heroically to “a place called Rome” only to be exiled by the downtrodden citizenry he reviles, Fiennes demonstrates a bracing sympathy with the Bard’s most cynical instincts. Yet in casting Vanessa Redgrave as his influential mother, Jessica Chastain as his long-suffering wife, Brian Cox as his blustery chief adviser and Gerard Butler as his mortal rival Tullus Aufidius, the first-time director has cut sharp, exquisite facets into this jewel of a cautionary tale, reflecting back to viewers the various sides of a society collapsing around them. Whether or not they’re entertained is almost irrelevant, though with Redgrave and Fiennes facing off in a narrative like this (adapted by screenwriter John Logan), it’s pretty hard not be. Fiennes spoke with Movieline recently about his fascination with the original piece, the upside of hopelessness, the necessity of risk, and the fine art of the very, very extreme close-up. Why Coriolanus? Conceptually, creatively — why now? [Long pause] It’s mostly very personal. There are two strands, I suppose. One is the actor — I played it on stage, and I felt very drawn to the confrontational nature of him and the piece. And maybe there’s a sort of anger involved about the continual dysfunction of society, and its continual patterns of political turnaround and endless, endless conflict. And the play and Coriolanus himself punch through that. I mean, I think the play is a tragedy, properly. But the sort of evisceration it leads to is… I feel like we’re always on track to these repeated eviscerations in how we are as a people — as humankind. I’m afraid the lack of hope in it was appealing to me. Wow! [Laughs] Because it was honest! That’s what I’m saying. Well, yeah. There is not one laugh in this entire movie. Not really. Well, there is if you like his sense of humor. But there’s something terrifying about it. It’s a very bleak piece, really. But I felt we’re living in these really bleak times. Is that generally a thematic appeal to you as an actor — and now as a director? Not always; it’s just this occasion. But I think that whole kind of “fuck you” anger and attitude of Coriolanus that sort of carves its way through everything is untenable. But it also has an appeal at the same time. There’s an ambivalence to it: “I am who I am, and I will not compromise.” He’s absurd and appealing in equal measure. But the tragedy is that he does — he does compromise. He says he doesn’t want to talk to the people, but he does, against his better nature. Twice he does it, and it explodes in his face. So I also find it very dramatically satisfying — for the same reason I guess some people find it unsatisfying. But I love how Shakespeare throws thee questions at us: Who are we with? Is Coriolanus the hero we were meant to follow? I think he is, but at the same time he’s a challenge to us. I love it that we’re challenged right at the front by who he is and what he says. I love the anger in it. I love it. It’s sort of searing. And then, finally, where it all leads to, is this umbilical nakedness between a mother and a son. It’s so painful: The one moment of enlightenment is going to be the cause of his death. But there’s this moment where he gives in. When I first saw the play, I found that scene extraordinary — that final scene. And I found it so moving. The humanity surges out of him; he says something like, “It’s very hard to make mine eyes sweat compassion.” But he’s full of compassion. His mother opens him up. And then he’s going to die for it. It costs him his life. It touches a nerve in me — this endless pain we’re all in the world, whether it’s drug wars in Mexico or journalists beaten up in Moscow, or Anna Politkovskaya shot in the lobby of her building. But this is a very mediated place called Rome. The journalists and videographers and talking heads featured in Coriolanus aren’t necessarily making things better. There’s an ongoing noise of news, isn’t there, in the world? I’d make a differentiation: There is the noise of corporate newsmaking, which I think is what you’re seeing in the film. In my head, they’re slightly different than the individual, whether they be a writer or a journalist or… Maybe I’m sounding confused, but wanting to make it came out a sort of frustration, maybe. So in a perverse way, Coriolanus appeals in a world of compromises — where there’s on betrayal after another. That’s why Aufidius looks at him and has that moment where he says, “What was it that made him? What was his fault?” And he meditates on it: “One fire drives out one fire; one nail, one nail / Rights by rights falter, strengths by strengths do fail.” I think we see that constant changearound of power through blood or betrayal or devious politics. It’s obviously such a personal project for you. Is that ever a threat as a filmmaker? To be too close, to be too involved or too connected to the source? On a deep level, you mean? Yes. Can you truly feel like you’re doing it justice, or that the risk is too great? I knew it was a huge risk. I knew just from the response of people when I was trying to pitch it. [Laughs] But the person who’s a key figure in giving it some kind of objectivity is John Logan, who sort of sensed what I was chasing. Which is something that I find it hard to define easily, but there’s a howl of pain at the center of this piece — this flashing of blades and knives, something frightening. I think everything has its own spirit. We all know why we enjoy A Midsummer Night’s Dream — it has a spirit, which, whatever the production is like, is this thing we all respond to. And I think why people often avert their gaze from Coriolanus is because it goes to a very, very frightening place. He is frightening; what happens is frightening. There’s literally an eviscerated body at the end of it. But I think that John, coming onboard, knew I wanted to get into that. He knew I wanted to go to that place. And he brought his great skill and eye to shaping it. If it hadn’t been for him, I probably wouldn’t be here, because I pitched to him, but he then wrote the screenplay, which was phenomenal. When you read his screenplay, you saw a film. You, as a reader, were aware of the emotional progression or a physical nuance inside a speech. He made you very, very present. I mean, we worked on it together. I had very strong ideas, and then he brought to the table his strong ideas. It is a fusion, but without his skill to kind of shape it as a written thing, I don’t know what I would have done. You now belong to a very, very elite class of actors who’ve directed themselves onscreen in Shakespeare adaptations — Olivier, Welles, Branagh… I’m sure there are a few others, but very few. What are the challenges, and how do you know when you’re ready to tackle that as a director? You never know you’re ready, but I can only speak for myself: I have one life, and this is what I really feel… I can’t get this thing out of my head. Any time along the way I could have lost confidence, or someone could have come along and said this is not going to work, but there were enough people who came onboard as it went along who kept the flame alive. But I never knew that I was ready. I just knew that I was prepared to fall on my sword, or whatever the appropriate expression may be. Your knife. My knife. Initially it could have been very incoherent as a piece. I feel, from the response I’m getting, that it has a coherence. But I don’t know. Did you look back at other adaptations to see how others had done it? Were you influenced by any Shakespeare adaptations for the screen? Yes. I liked the commitment to a specific world that Baz Luhrmann did in Romeo + Juliet. He embraced a very coherent world. I took a lot from that. Every location mattered to me. I fell in love with locations; they became like actors in the cast. They were really important to me. And then for performance, there’s a Peter Brook King Lear, which is very naturalistic in black-and-white — very austere performances that I kind of like. I didn’t want to mimic that exactly — that style — but I wanted it naturalistic. So there were those, and I tried to avoid — wherever I could — any overt theatricality, and just treat it like a political drama set today. The most striking thing to me in this film is its approach to the extreme close-up. There are so many obvious differences between the media of stage and screen, but the close-up is The Difference. No, it is. You’re right. This is the conversation I had with John Logan. What I love in films… I mean, look at Gary Oldman’s performance as Smiley (in Tinker, Tailor, Soldier, Spy). Have you seen it? Oh, yeah. He doesn’t say a lot; he’s just looking, blank. But the close-up means that I, the viewer, am fascinated by what shifts of thought are going on. What’s happening? I love that. It compounds the physicality of a performance. We see the body on stage, but we don’t see the face. But with Coriolanus, if you don’t buy the face, then you don’t buy the movie. Exactly. It was funny when we were shooting it — how I would shoot sort of from hips to shoulders. And it was valid, but very quickly in the scene, just talking to my producer and my script supervisor and this group of people around me whom was asking for an opinion, the consensus around me was that we had to get in. “You’ve got to get into the face.” And even in the longer scenes, even if it’s so-called “static,” then so be it. But it’s all happening here. [Staggers hands directly above and below his face.] Like in that middle scene where Vanessa is saying, “You must go back and talk to them,” I’m in her face. But I love her face. I think everyone does. Yeah! But how does she feel about that on set — knowing how close the camera is and the presence she has to bring to it? I think actors know generally that that’s where they play — in the close-up. That’s where you deliver. It can be intimidating, but… I mean, some actors sometimes choose to go, “Is it this? Is it this?” [Contorts face and laughs] You know? But Vanessa is not that sort of actor. She wants to feel that what she’s doing is truthful for her. She’s sensitive to what’s happening on camera, but she’s not the type of actor who goes and checks the monitor. Ever. Did you have that actor on set? Well, I had to do it! [Laughs] By definition. Sometimes. [Top photo: Getty Images] Follow S.T. VanAirsdale on Twitter. Follow Movieline on Twitter.