And I thought if I don’t pre-interview – first of all, we couldn’t afford it – but the second thing was it would force me to do my own research, which takes two weeks.
I was dealing with craft, and that’s the surprising thing, the number of people who have literally broken down on our stage, because when you’re talking about the thing that is most important to someone, they’re liable to feel something strong.
I thought we would have at most an audience of 5,000 devotees because I made the decision to stick to craft, not to gossip, not to be interested in any of the juicy stuff that they talk about on other shows, but stick to the question of craft.
I wanted when we began this to have a conversation, the kind that you’re able to have, and the only way I knew how to do it was not to have a pre-interview.
What I didn’t know that by sticking to craft we would blow open some doors that I never saw opened before.
Comedians don’t laugh. They’re too busy analyzing why it’s funny or not.
Hackman is able to live in the moment which means there is nothing for him at that split second than what is occurring in the scene.
The studio is meant to be always a place where, first of all, they can be out of spotlight, and second, where they could work with a peer group on parts that they might not have played otherwise.
I had something called the back of the chair test. Where I sit, we don’t sit like you and I do. I can see a sliver right behind them and they come out and they sit like this like god students and they don’t touch the back of the chair.
I was originally going to be a lawyer, and the only thing I remember from the art of cross-examination is – you can see this one coming up Sixth Avenue – never ask a question the answer to which you do not know.