James Foley

So he's very reluctant to identify any one particular feeling and even reluctant to finish a sentence. But I began to understand very well what he was talking about and I agreed with him. So our communication was more like him saying, I think, you know, maybe, you know, and I'd say, yeah, right, more so. And we somehow did it.

So he's very reluctant to identify any one particular feeling and even reluctant to finish a sentence. But I began to understand very well what he was talking about and I agreed with him. So our communication was more like him saying, I think, you know, maybe, you know, and I'd say, yeah, right, more so. And we somehow did it.

And even to the point where it got to, you know, where once we had done enough takes where we both felt like we really had it, we would always do one crazy one. And that's who we just call it a crazy one because to try something just that was a stupid idea. But it's amazing how many of the crazy ones are in there.

And even to the point where it got to, you know, where once we had done enough takes where we both felt like we really had it, we would always do one crazy one. And that's who we just call it a crazy one because to try something just that was a stupid idea. But it's amazing how many of the crazy ones are in there.

And even to the point where it got to, you know, where once we had done enough takes where we both felt like we really had it, we would always do one crazy one. And that's who we just call it a crazy one because to try something just that was a stupid idea. But it's amazing how many of the crazy ones are in there.

That's very interesting. I think exactly that. I have thought about that because I had one experience where I... did that and it was hell. I directed an episode of Twin Peaks and it was in the second season and they asked me in the first season and I couldn't do it.

That's very interesting. I think exactly that. I have thought about that because I had one experience where I... did that and it was hell. I directed an episode of Twin Peaks and it was in the second season and they asked me in the first season and I couldn't do it.

That's very interesting. I think exactly that. I have thought about that because I had one experience where I... did that and it was hell. I directed an episode of Twin Peaks and it was in the second season and they asked me in the first season and I couldn't do it.

So they asked me at the beginning of the second season and I said yes and I made this commitment and thinking it would be like the first season. By the time I got there, David Lynch had totally abandoned the thing and The scripts, he was not putting input into the writing of the script. He was off in Tokyo selling his art.

So they asked me at the beginning of the second season and I said yes and I made this commitment and thinking it would be like the first season. By the time I got there, David Lynch had totally abandoned the thing and The scripts, he was not putting input into the writing of the script. He was off in Tokyo selling his art.

So they asked me at the beginning of the second season and I said yes and I made this commitment and thinking it would be like the first season. By the time I got there, David Lynch had totally abandoned the thing and The scripts, he was not putting input into the writing of the script. He was off in Tokyo selling his art.

And there I was stuck with this script that had nothing that was like faux Lynch. It was like a bunch of people sitting around sort of making believe they were David Lynch. And I'm stuck with this script and it was horrifying. Nothing was more terrible in my life. Because you don't know what to do. I don't know where to put the camera. I don't know what to say to the actors.

And there I was stuck with this script that had nothing that was like faux Lynch. It was like a bunch of people sitting around sort of making believe they were David Lynch. And I'm stuck with this script and it was horrifying. Nothing was more terrible in my life. Because you don't know what to do. I don't know where to put the camera. I don't know what to say to the actors.

And there I was stuck with this script that had nothing that was like faux Lynch. It was like a bunch of people sitting around sort of making believe they were David Lynch. And I'm stuck with this script and it was horrifying. Nothing was more terrible in my life. Because you don't know what to do. I don't know where to put the camera. I don't know what to say to the actors.

I just want to go home. And it was really, really an awful experience. Luckily, it was only four or five days, you know, one episode. But it gave me a lesson about that very thing, that there's no way I could get through making a film that I didn't, even if delusional, didn't think had the potential to be good.

I just want to go home. And it was really, really an awful experience. Luckily, it was only four or five days, you know, one episode. But it gave me a lesson about that very thing, that there's no way I could get through making a film that I didn't, even if delusional, didn't think had the potential to be good.

I just want to go home. And it was really, really an awful experience. Luckily, it was only four or five days, you know, one episode. But it gave me a lesson about that very thing, that there's no way I could get through making a film that I didn't, even if delusional, didn't think had the potential to be good.

No, it was, which has been my experience really on every film, that actors really, really want to be directed and they want interaction.

No, it was, which has been my experience really on every film, that actors really, really want to be directed and they want interaction.

No, it was, which has been my experience really on every film, that actors really, really want to be directed and they want interaction.