Jesse Eisenberg

Yeah, I guess so. But, you know, one of the other things about like being in the arts is learning to be flexible and learning to feel like Kieran Culkin in this movie didn't want to stand on any marks, which means, you know, when you're setting up a shot in a movie, the actor has to stand on their mark to deliver their lines. This is like kind of just standard practice. Kieran...

would never stand on a mark because he didn't know what he was going to do or where he was going to walk or what he was going to be performing like. And so for me, if I had, you know, some kind of strict compulsion to wanting the actors to all do my thing, the movie wouldn't be good because it would be stifling our, you know, leading character, Kieran. And so learning to be flexible is helpful.

would never stand on a mark because he didn't know what he was going to do or where he was going to walk or what he was going to be performing like. And so for me, if I had, you know, some kind of strict compulsion to wanting the actors to all do my thing, the movie wouldn't be good because it would be stifling our, you know, leading character, Kieran. And so learning to be flexible is helpful.

would never stand on a mark because he didn't know what he was going to do or where he was going to walk or what he was going to be performing like. And so for me, if I had, you know, some kind of strict compulsion to wanting the actors to all do my thing, the movie wouldn't be good because it would be stifling our, you know, leading character, Kieran. And so learning to be flexible is helpful.

And in the arts, that's really kind of... paramount, you know, because you want the most creative, interesting idea to win. So when I'm writing the script, I have, I guess you could call it some kind of compulsion to make sure everything is exactly what I want it to be.

And in the arts, that's really kind of... paramount, you know, because you want the most creative, interesting idea to win. So when I'm writing the script, I have, I guess you could call it some kind of compulsion to make sure everything is exactly what I want it to be.

And in the arts, that's really kind of... paramount, you know, because you want the most creative, interesting idea to win. So when I'm writing the script, I have, I guess you could call it some kind of compulsion to make sure everything is exactly what I want it to be.

But I've learned, this is my second movie as director, but I've also written and performed in several plays, that being flexible or being open to being flexible, at least, is probably the best way to get the best version of something.

But I've learned, this is my second movie as director, but I've also written and performed in several plays, that being flexible or being open to being flexible, at least, is probably the best way to get the best version of something.

But I've learned, this is my second movie as director, but I've also written and performed in several plays, that being flexible or being open to being flexible, at least, is probably the best way to get the best version of something.

Yeah, like the first few days, yeah, he told me, like, that's not what I want to do. I don't want to get notes from you. I don't want to rehearse or talk about the scenes. I was just panicked that he wasn't going to know his lines because he speaks so quickly in the movie and it has to go quick. Like, the movie wouldn't work if he's kind of stumbly with his dialogue.

Yeah, like the first few days, yeah, he told me, like, that's not what I want to do. I don't want to get notes from you. I don't want to rehearse or talk about the scenes. I was just panicked that he wasn't going to know his lines because he speaks so quickly in the movie and it has to go quick. Like, the movie wouldn't work if he's kind of stumbly with his dialogue.

Yeah, like the first few days, yeah, he told me, like, that's not what I want to do. I don't want to get notes from you. I don't want to rehearse or talk about the scenes. I was just panicked that he wasn't going to know his lines because he speaks so quickly in the movie and it has to go quick. Like, the movie wouldn't work if he's kind of stumbly with his dialogue.

So I was just worried he wouldn't know his lines. But he's some kind of genius because... He would come to set in the morning and he would say, what scene are we shooting today? Which is like not the question you want to hear from your main actor. And I would say, it's the five-page scene on the train. You have two monologues that have to be delivered at lightning speed.

So I was just worried he wouldn't know his lines. But he's some kind of genius because... He would come to set in the morning and he would say, what scene are we shooting today? Which is like not the question you want to hear from your main actor. And I would say, it's the five-page scene on the train. You have two monologues that have to be delivered at lightning speed.

So I was just worried he wouldn't know his lines. But he's some kind of genius because... He would come to set in the morning and he would say, what scene are we shooting today? Which is like not the question you want to hear from your main actor. And I would say, it's the five-page scene on the train. You have two monologues that have to be delivered at lightning speed.

And he would go, oh, God, I remember that scene. It was so funny. Can I see the script? I'm like, oh, my goodness. I show him the script. He looks at it. Terry, I'm totally... I'm being completely serious. He looks at the script for, like, a minute, and he's word perfect.

And he would go, oh, God, I remember that scene. It was so funny. Can I see the script? I'm like, oh, my goodness. I show him the script. He looks at it. Terry, I'm totally... I'm being completely serious. He looks at the script for, like, a minute, and he's word perfect.

And he would go, oh, God, I remember that scene. It was so funny. Can I see the script? I'm like, oh, my goodness. I show him the script. He looks at it. Terry, I'm totally... I'm being completely serious. He looks at the script for, like, a minute, and he's word perfect.

He just has some kind of weird memory bank where he's able to learn lines really, really quickly and then forget about them the next day. So he was always great. And, you know, for me, you know, trying to direct him, it just felt like the movie's going to be great if I let him kind of run around. You know, I don't like...