Kevin Spacey

That's one.

You're gone. You're not there. Not there. And so New Line Cinema told me to go fuck myself, that they absolutely could use my picture and my image. And this became a little bit of a, I'd say, 24-hour conversation And it was Fincher who said, I actually think this is a really cool idea. So the compromise was I'm the first credit at the end of the movie when the credits start.

You're gone. You're not there. Not there. And so New Line Cinema told me to go fuck myself, that they absolutely could use my picture and my image. And this became a little bit of a, I'd say, 24-hour conversation And it was Fincher who said, I actually think this is a really cool idea. So the compromise was I'm the first credit at the end of the movie when the credits start.

You're gone. You're not there. Not there. And so New Line Cinema told me to go fuck myself, that they absolutely could use my picture and my image. And this became a little bit of a, I'd say, 24-hour conversation And it was Fincher who said, I actually think this is a really cool idea. So the compromise was I'm the first credit at the end of the movie when the credits start.

So I got on a plane on that Sunday and I flew to Los Angeles and I went into where they were shooting and I went into the makeup room and David Fincher was there and we were talking about what should I do? How should I look? And I just had my hair short for Outbreak because I was playing a military character. And I just looked at the... and I said, do you have a razor?

So I got on a plane on that Sunday and I flew to Los Angeles and I went into where they were shooting and I went into the makeup room and David Fincher was there and we were talking about what should I do? How should I look? And I just had my hair short for Outbreak because I was playing a military character. And I just looked at the... and I said, do you have a razor?

So I got on a plane on that Sunday and I flew to Los Angeles and I went into where they were shooting and I went into the makeup room and David Fincher was there and we were talking about what should I do? How should I look? And I just had my hair short for Outbreak because I was playing a military character. And I just looked at the... and I said, do you have a razor?

And Fincher went, are you kidding?

And Fincher went, are you kidding?

And Fincher went, are you kidding?

He goes, if you shave your head, I'll shave mine. So we both shaved our heads. And then I started shooting the next day. So my long-winded answer to your question is that I didn't have that much time to think about how to build that character. What I think in the end Fincher was able to do so brilliantly with such terror was to set the audience up to meet this character.

He goes, if you shave your head, I'll shave mine. So we both shaved our heads. And then I started shooting the next day. So my long-winded answer to your question is that I didn't have that much time to think about how to build that character. What I think in the end Fincher was able to do so brilliantly with such terror was to set the audience up to meet this character.

He goes, if you shave your head, I'll shave mine. So we both shaved our heads. And then I started shooting the next day. So my long-winded answer to your question is that I didn't have that much time to think about how to build that character. What I think in the end Fincher was able to do so brilliantly with such terror was to set the audience up to meet this character.

Yeah. I can really only tell you that while we were shooting that scene in the car, while we were out in the desert in that place where all those electrical wires were, David just kept saying less, do less. And I just tried to, I mean, I remember he kept saying to me, remember, you're in control. Like, you're going to win. And knowing that should allow you to have tremendous confidence.

Yeah. I can really only tell you that while we were shooting that scene in the car, while we were out in the desert in that place where all those electrical wires were, David just kept saying less, do less. And I just tried to, I mean, I remember he kept saying to me, remember, you're in control. Like, you're going to win. And knowing that should allow you to have tremendous confidence.

Yeah. I can really only tell you that while we were shooting that scene in the car, while we were out in the desert in that place where all those electrical wires were, David just kept saying less, do less. And I just tried to, I mean, I remember he kept saying to me, remember, you're in control. Like, you're going to win. And knowing that should allow you to have tremendous confidence.

And I just followed that lead. And I, I just think it's the kind of film that so many of the elements that had been at work from the beginning of the movie in terms of its style, in terms of how he built this terror, in terms of how he built for the audience, a sense of this person being one of the scariest people they might ever encounter.

And I just followed that lead. And I, I just think it's the kind of film that so many of the elements that had been at work from the beginning of the movie in terms of its style, in terms of how he built this terror, in terms of how he built for the audience, a sense of this person being one of the scariest people they might ever encounter.

And I just followed that lead. And I, I just think it's the kind of film that so many of the elements that had been at work from the beginning of the movie in terms of its style, in terms of how he built this terror, in terms of how he built for the audience, a sense of this person being one of the scariest people they might ever encounter.

It really allowed me to be able to not have to do that much, just say the words and mean them. And I think it also is an example of what makes tragedy so difficult. I mean, you know, very often tragedy is people operating without enough information. They don't have all the facts. Romeo and Juliet, they don't have all the facts. They don't know what we know as an audience.