Kevin Spacey

I don't think it's about the industry. I think it's about our time. I think it's the time that we're in, and people are very afraid. Just afraid, just a general fear. No, they're literally afraid that they're going to get canceled if they stand up for someone who has been. And I think it's, I mean, you know, we've seen this many times in history. This is not the first time it's happened.

Is that fair or no? I'll give you one very interesting, specific education that I got in doing Richard III and closing that show. at BAM in March of 2012, and two months later started shooting House of Cards. There is something called direct address. In Shakespeare, you have Hamlet talks to the world.

Is that fair or no? I'll give you one very interesting, specific education that I got in doing Richard III and closing that show. at BAM in March of 2012, and two months later started shooting House of Cards. There is something called direct address. In Shakespeare, you have Hamlet talks to the world.

Is that fair or no? I'll give you one very interesting, specific education that I got in doing Richard III and closing that show. at BAM in March of 2012, and two months later started shooting House of Cards. There is something called direct address. In Shakespeare, you have Hamlet talks to the world.

But when Shakespeare wrote Richard III, it was the first time he created something called direct address, which is the character looks directly at each person close by. It is a different kind of sharing than when a character is doing a monologue, an opening of Henry IV. And while there are some people who believe that direct address was invented in Ferris Bueller, it wasn't.

But when Shakespeare wrote Richard III, it was the first time he created something called direct address, which is the character looks directly at each person close by. It is a different kind of sharing than when a character is doing a monologue, an opening of Henry IV. And while there are some people who believe that direct address was invented in Ferris Bueller, it wasn't.

But when Shakespeare wrote Richard III, it was the first time he created something called direct address, which is the character looks directly at each person close by. It is a different kind of sharing than when a character is doing a monologue, an opening of Henry IV. And while there are some people who believe that direct address was invented in Ferris Bueller, it wasn't.

It was Shakespeare who invented it. So I had just had this experience every night in theaters all over the world. seeing how people reacted to becoming a co-conspirator, because that's what it's about. And what I tried to do, and what Fincher really helped me with in those beginning days, was how to look in that camera and imagine I was talking to my best friend.

It was Shakespeare who invented it. So I had just had this experience every night in theaters all over the world. seeing how people reacted to becoming a co-conspirator, because that's what it's about. And what I tried to do, and what Fincher really helped me with in those beginning days, was how to look in that camera and imagine I was talking to my best friend.

It was Shakespeare who invented it. So I had just had this experience every night in theaters all over the world. seeing how people reacted to becoming a co-conspirator, because that's what it's about. And what I tried to do, and what Fincher really helped me with in those beginning days, was how to look in that camera and imagine I was talking to my best friend.

Yeah. And there were many times when I suppose the writers thought I was crazy where I would see a script and I would see like this moment where this direct address would happen and say all this stuff. And I'd go, when we do a read through of the script, I go, I don't think I need to say any of that. And they were like, what do you mean? I said, well, the audience knows all of that.

Yeah. And there were many times when I suppose the writers thought I was crazy where I would see a script and I would see like this moment where this direct address would happen and say all this stuff. And I'd go, when we do a read through of the script, I go, I don't think I need to say any of that. And they were like, what do you mean? I said, well, the audience knows all of that.

Yeah. And there were many times when I suppose the writers thought I was crazy where I would see a script and I would see like this moment where this direct address would happen and say all this stuff. And I'd go, when we do a read through of the script, I go, I don't think I need to say any of that. And they were like, what do you mean? I said, well, the audience knows all of that.

All I have to do is look. They know exactly what's going on. I don't need to say a thing. So I was often cutting dialogue because it just wasn't needed. Because that relationship that I'd learned that I'd experienced doing Richard III was so extraordinary. where I literally watched people, they were like, oh, I'm in on the thing, and this is so awesome.

All I have to do is look. They know exactly what's going on. I don't need to say a thing. So I was often cutting dialogue because it just wasn't needed. Because that relationship that I'd learned that I'd experienced doing Richard III was so extraordinary. where I literally watched people, they were like, oh, I'm in on the thing, and this is so awesome.

All I have to do is look. They know exactly what's going on. I don't need to say a thing. So I was often cutting dialogue because it just wasn't needed. Because that relationship that I'd learned that I'd experienced doing Richard III was so extraordinary. where I literally watched people, they were like, oh, I'm in on the thing, and this is so awesome.

And then suddenly, wait, he killed the kids. He killed those kids in the tower. Oh, maybe it's not so. And you literally would watch them start to reverse their having had such a great time with Richard III in the first three acts. And I thought, this is going to happen in this show. If this intimacy,

And then suddenly, wait, he killed the kids. He killed those kids in the tower. Oh, maybe it's not so. And you literally would watch them start to reverse their having had such a great time with Richard III in the first three acts. And I thought, this is going to happen in this show. If this intimacy,

And then suddenly, wait, he killed the kids. He killed those kids in the tower. Oh, maybe it's not so. And you literally would watch them start to reverse their having had such a great time with Richard III in the first three acts. And I thought, this is going to happen in this show. If this intimacy,

can actually land um and i think just think there was some brilliant writing and we always attempted to do it in one take no matter how long something was we would try to do it in one take the direct addresses so there was never a cut when we went out on locations we started to then find ways to