00:00My head tends to go this way, but he wants it this way.
00:02And artistic frustration is inherent in the work itself.
00:06He's invited you there because he wants you there.
00:09He creates such a familial environment.
00:12You know, everyone comes home.
00:14We all live in the same hotel.
00:16We all stay together.
00:17We dine together.
00:19We sleep together.
00:20Keep it simple.
00:22I shouldn't have said that.
00:24That's true.
00:25But we, you know, I think that's really unusual.
00:30Not the sleeping together part,
00:31but the ability to create a real sense of community.
00:39Everything is so unique and special, though.
00:42But you know Wes quite well now.
00:44It's been ages.
00:46Is it difficult for some new people
00:48to enter in this kind of family,
00:50in this kind of new environment somehow?
00:53I mean, I think there's a learning curve.
00:55There was for me.
00:57And there is whenever you step on a set
01:01with a new filmmaker,
01:03and you don't necessarily know how either of you work.
01:07They don't know how your process is.
01:09And you develop a shorthand now, I feel.
01:12So once you've experienced it,
01:15even for an actor coming on board,
01:17I think you got it within a few days.
01:21Okay, this is how you need to be prepared,
01:24a certain level of preparation
01:26that's different from every other job.
01:32The one thing about Wes is he's very kind and thoughtful.
01:36And even though there's all this specificity in his work,
01:40it is collaborative.
01:42You're finding things.
01:46It's playful, very alive.
01:48So I think you just get an understanding of that.
01:52It's also, it's very challenging to do the work
01:55because he's so specific on what he wants.
01:59And artistic frustration is inherent in the work itself.
02:04I don't think I've ever worked on any project
02:07where at some point I'm not frustrated with myself
02:12for lack of being able to grab onto something
02:14or completely understand a moment
02:17where it escapes you.
02:18And it has its frustration built in.
02:22But as long as you have a support group around you
02:26of other actors who have felt the same way
02:29at some point in the process and can help you.
02:34We learn to trust each other.
02:37And we trust Wes to, in a calm way,
02:41guide us through the logjams that we may be facing.
02:45For you actors, the body is quite an important tool.
02:49And in a Wes Anderson movie, as a viewer,
02:52I saw very symmetrical things and stuff.
02:54I was wondering, how do you deal with his universe
02:58and your body?
03:00It's a good question.
03:01Well, I think it's what Adrian was saying
03:03about you learn to speak his language.
03:05He has a cinematic language that he uses
03:10in all of his work.
03:11And it's up to us to learn that language,
03:14to adapt to it, and to figure out how we get to it.
03:20Actors work very differently.
03:22So you can't write a rule that this is what you do.
03:25You have to discover it on your own.
03:27You're there for a reason.
03:29And he's invited you there because he wants you there.
03:36And that makes it easier to kind of assimilate
03:40to what's required.
03:41Yes, there is a need.
03:42I remember at certain times we'll do a very distinct
03:46close-up or a shot, and you feel like you're straight,
03:50or you wouldn't normally be aware of certain things,
03:53and he would want it tilted slightly differently
03:56or whatever.
03:56And then you've gotta still exist in the moment
04:00and try and create it to a sense that it feels very calm,
04:03but my head tends to go this way, but he wants it this way.
04:06And that doesn't necessarily feel the same for me,
04:08but you have to make it work.
04:10You just go with it.
04:12You have to really...
04:13There's a wonderful physicality in all of the characters.
04:18I think really it all comes down to preparation
04:20because the material is so...
04:22The writing needs to be delivered at a certain way
04:26and certain inflections,
04:28and everything has to feel very true to you,
04:33but they also have to work in half the time
04:35that you would normally convey the same sentence.
04:37And then there are multiple camera moves
04:39and adjustments going on and interactions with others
04:43and the physical stuff.
04:44So when you show up,
04:48you need to know it so well that you can adjust.
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