James Foley

Well, it's good, which is very different. And I think the most important thing when I read this screenplay, I certainly was aware of what it was, and I really began to read it with some trepidation, like, why do I want to make a film out of this Pulitzer Prize-winning play? It was not something I ever saw myself doing. And so I read it with, yeah, well, you know, not likely.

Well, it's good, which is very different. And I think the most important thing when I read this screenplay, I certainly was aware of what it was, and I really began to read it with some trepidation, like, why do I want to make a film out of this Pulitzer Prize-winning play? It was not something I ever saw myself doing. And so I read it with, yeah, well, you know, not likely.

Well, it's good, which is very different. And I think the most important thing when I read this screenplay, I certainly was aware of what it was, and I really began to read it with some trepidation, like, why do I want to make a film out of this Pulitzer Prize-winning play? It was not something I ever saw myself doing. And so I read it with, yeah, well, you know, not likely.

But what really surprised me was that the reading of it seemed much more emotionally accessible than my memory of the play. I had thought when I saw the play that it really appealed to me sort of from the neck up and was an interesting intellectual, philosophical, black, humorous sort of experience. But reading the screenplay, for some reasons that I later analyzed for myself,

But what really surprised me was that the reading of it seemed much more emotionally accessible than my memory of the play. I had thought when I saw the play that it really appealed to me sort of from the neck up and was an interesting intellectual, philosophical, black, humorous sort of experience. But reading the screenplay, for some reasons that I later analyzed for myself,

But what really surprised me was that the reading of it seemed much more emotionally accessible than my memory of the play. I had thought when I saw the play that it really appealed to me sort of from the neck up and was an interesting intellectual, philosophical, black, humorous sort of experience. But reading the screenplay, for some reasons that I later analyzed for myself,

it really opened up a whole nother level of an emotional accessibility to the characters that had not been evident for me on stage.

it really opened up a whole nother level of an emotional accessibility to the characters that had not been evident for me on stage.

it really opened up a whole nother level of an emotional accessibility to the characters that had not been evident for me on stage.

No, that was very important because I became aware early on that there was a real danger that actors could get into with language like this where they get seduced by the superficial level of gratification that comes from just saying good dialogue that's written in a rhythmic way. Because if you just memorize the lines and say them fast, they sound good.

No, that was very important because I became aware early on that there was a real danger that actors could get into with language like this where they get seduced by the superficial level of gratification that comes from just saying good dialogue that's written in a rhythmic way. Because if you just memorize the lines and say them fast, they sound good.

No, that was very important because I became aware early on that there was a real danger that actors could get into with language like this where they get seduced by the superficial level of gratification that comes from just saying good dialogue that's written in a rhythmic way. Because if you just memorize the lines and say them fast, they sound good.

And so one could get convinced that it actually meant something. And That actually happened a lot when we had actors come in to read and some really heavyweight actors had come in and read and they made a big mistake by sort of having prepared in that superficial way and so it was flashy and entertaining but totally boring to me.

And so one could get convinced that it actually meant something. And That actually happened a lot when we had actors come in to read and some really heavyweight actors had come in and read and they made a big mistake by sort of having prepared in that superficial way and so it was flashy and entertaining but totally boring to me.

And so one could get convinced that it actually meant something. And That actually happened a lot when we had actors come in to read and some really heavyweight actors had come in and read and they made a big mistake by sort of having prepared in that superficial way and so it was flashy and entertaining but totally boring to me.

What I was much more interested in was getting actors who had an interior emotional life that was easily accessible, and I felt as if the technical aspects of being able to fire off this rapid dialogue was something that would come later, but it was secondary to me to this internal life, and an internal life specific to cinema actors.

What I was much more interested in was getting actors who had an interior emotional life that was easily accessible, and I felt as if the technical aspects of being able to fire off this rapid dialogue was something that would come later, but it was secondary to me to this internal life, and an internal life specific to cinema actors.

What I was much more interested in was getting actors who had an interior emotional life that was easily accessible, and I felt as if the technical aspects of being able to fire off this rapid dialogue was something that would come later, but it was secondary to me to this internal life, and an internal life specific to cinema actors.

I was going to sit and wait to hear you get an adjective for each guy.

I was going to sit and wait to hear you get an adjective for each guy.