James Mangold

Ich habe, wer im Hintergrund ist, wer schaut, was zwischen ihnen auf der Bühne geht. Wie viel weiß die Publikation, was sie auf der Bühne fühlen? Es ist viel mehr verpackt. als wenn ich im Leben eine Art Disney-Hall der Präsidenten-Rechreation eines berühmten Konzerts sehe.

Ich habe, wer im Hintergrund ist, wer schaut, was zwischen ihnen auf der Bühne geht. Wie viel weiß die Publikation, was sie auf der Bühne fühlen? Es ist viel mehr verpackt. als wenn ich im Leben eine Art Disney-Hall der Präsidenten-Rechreation eines berühmten Konzerts sehe.

Ich habe, wer im Hintergrund ist, wer schaut, was zwischen ihnen auf der Bühne geht. Wie viel weiß die Publikation, was sie auf der Bühne fühlen? Es ist viel mehr verpackt. als wenn ich im Leben eine Art Disney-Hall der Präsidenten-Rechreation eines berühmten Konzerts sehe.

Yes, meaning I was building off of a confidence I had. I mean, on many levels, like encouraging the cast to sing themselves, all of that, because I had all the same people on this movie going, what if he can't do it? What if he can't sing it? What if he can't play it? And I'd be like, well, you're never going to find out if you don't try.

Yes, meaning I was building off of a confidence I had. I mean, on many levels, like encouraging the cast to sing themselves, all of that, because I had all the same people on this movie going, what if he can't do it? What if he can't sing it? What if he can't play it? And I'd be like, well, you're never going to find out if you don't try.

Yes, meaning I was building off of a confidence I had. I mean, on many levels, like encouraging the cast to sing themselves, all of that, because I had all the same people on this movie going, what if he can't do it? What if he can't sing it? What if he can't play it? And I'd be like, well, you're never going to find out if you don't try.

So, you know, they're going to figure it out. Yes, well, that's the point. It's like I'm like a coach of a major team and I have to expect my players to reach high, right? That's kind of the whole point is lowering the bar when you have the best players. It would be raising it to where they're uncomfortable and have a challenge.

So, you know, they're going to figure it out. Yes, well, that's the point. It's like I'm like a coach of a major team and I have to expect my players to reach high, right? That's kind of the whole point is lowering the bar when you have the best players. It would be raising it to where they're uncomfortable and have a challenge.

So, you know, they're going to figure it out. Yes, well, that's the point. It's like I'm like a coach of a major team and I have to expect my players to reach high, right? That's kind of the whole point is lowering the bar when you have the best players. It would be raising it to where they're uncomfortable and have a challenge.

But the point I was making about directing to whatever degree it's interesting is that So that whole philosophy doesn't translate into an exactitude about where I'm going to be, the shots I must have. Sometimes there are those. But that strategy is a strategy that converts well to an actor's mind. Yeah.

But the point I was making about directing to whatever degree it's interesting is that So that whole philosophy doesn't translate into an exactitude about where I'm going to be, the shots I must have. Sometimes there are those. But that strategy is a strategy that converts well to an actor's mind. Yeah.

But the point I was making about directing to whatever degree it's interesting is that So that whole philosophy doesn't translate into an exactitude about where I'm going to be, the shots I must have. Sometimes there are those. But that strategy is a strategy that converts well to an actor's mind. Yeah.

To my DP's mind, meaning they understand what I'm trying to say with the camera and its relationship with the actors. And the actors understand, oh, I know how I can mine shit out of that. If the camera's here, you're going to see stuff you'd never see if you're frontal on me at the mic. So you got to stay open a little bit. You got to stay open a little bit, but I never let go of that idea.

To my DP's mind, meaning they understand what I'm trying to say with the camera and its relationship with the actors. And the actors understand, oh, I know how I can mine shit out of that. If the camera's here, you're going to see stuff you'd never see if you're frontal on me at the mic. So you got to stay open a little bit. You got to stay open a little bit, but I never let go of that idea.

To my DP's mind, meaning they understand what I'm trying to say with the camera and its relationship with the actors. And the actors understand, oh, I know how I can mine shit out of that. If the camera's here, you're going to see stuff you'd never see if you're frontal on me at the mic. So you got to stay open a little bit. You got to stay open a little bit, but I never let go of that idea.

And that idea translates into a kind of visual game plan that then hopefully gets you both the mess of live performance or what you feel like is something where it hasn't been worked out to the T. There's a kind of beautiful random blossoming to the acting, but also it's in a beautiful frame that's correct or right or feels right for that moment. That's kind of

And that idea translates into a kind of visual game plan that then hopefully gets you both the mess of live performance or what you feel like is something where it hasn't been worked out to the T. There's a kind of beautiful random blossoming to the acting, but also it's in a beautiful frame that's correct or right or feels right for that moment. That's kind of

And that idea translates into a kind of visual game plan that then hopefully gets you both the mess of live performance or what you feel like is something where it hasn't been worked out to the T. There's a kind of beautiful random blossoming to the acting, but also it's in a beautiful frame that's correct or right or feels right for that moment. That's kind of

The difference that's interesting to me... between a complete unknown and Walk the Line is at another narrative level, which is that Walk the Line is really a story of... It's a love story, but it's also a story of addiction and psychological trauma. And in that way, the narrative fits in a fairly well-established... Ja. Ja.

The difference that's interesting to me... between a complete unknown and Walk the Line is at another narrative level, which is that Walk the Line is really a story of... It's a love story, but it's also a story of addiction and psychological trauma. And in that way, the narrative fits in a fairly well-established... Ja. Ja.