Kevin Spacey

In terms of the writing and in terms of what the characters had to do, it was an incredible culmination of how this character could manipulate in the way that he did. And in the end,

Sometimes it's timing. Sometimes it's literally he has a stopwatch, and he's timing how long a scene is taking. And then he'll say, you need to take a minute off this scene. Like a minute? Yeah, a minute off this scene. I want it to move like this. So let's pick it up. Let's pick up the pace. Let's see if we can take a minute off.

Sometimes it's timing. Sometimes it's literally he has a stopwatch, and he's timing how long a scene is taking. And then he'll say, you need to take a minute off this scene. Like a minute? Yeah, a minute off this scene. I want it to move like this. So let's pick it up. Let's pick up the pace. Let's see if we can take a minute off.

Sometimes it's timing. Sometimes it's literally he has a stopwatch, and he's timing how long a scene is taking. And then he'll say, you need to take a minute off this scene. Like a minute? Yeah, a minute off this scene. I want it to move like this. So let's pick it up. Let's pick up the pace. Let's see if we can take a minute off.

Which is, you know, we don't take Big dramatic pauses. Yeah, right. You know, before we speak. We speak. We say what we want. We, you know.

Which is, you know, we don't take Big dramatic pauses. Yeah, right. You know, before we speak. We speak. We say what we want. We, you know.

Which is, you know, we don't take Big dramatic pauses. Yeah, right. You know, before we speak. We speak. We say what we want. We, you know.

They didn't always like the dramatic pauses. I mean, look, you go back, any student of acting, you go back to the 30s and the 40s, 50s. The speed at which actors spoke. Not just in the comedies, which, of course, you know, you look at any Preston Sturges movie and it's incredible how fast people are talking and how funny things are when they happen that fast.

They didn't always like the dramatic pauses. I mean, look, you go back, any student of acting, you go back to the 30s and the 40s, 50s. The speed at which actors spoke. Not just in the comedies, which, of course, you know, you look at any Preston Sturges movie and it's incredible how fast people are talking and how funny things are when they happen that fast.

They didn't always like the dramatic pauses. I mean, look, you go back, any student of acting, you go back to the 30s and the 40s, 50s. The speed at which actors spoke. Not just in the comedies, which, of course, you know, you look at any Preston Sturges movie and it's incredible how fast people are talking and how funny things are when they happen that fast.

But then, you know, acting styles changed. We got into a different kind of thing in the late 50s and 60s and – A lot of actors are feeling it, which is, I'm not saying it's a bad thing. It's just that if you want to keep an audience engaged as Fincher does, and I believe successfully does in all of his work,

But then, you know, acting styles changed. We got into a different kind of thing in the late 50s and 60s and – A lot of actors are feeling it, which is, I'm not saying it's a bad thing. It's just that if you want to keep an audience engaged as Fincher does, and I believe successfully does in all of his work,

But then, you know, acting styles changed. We got into a different kind of thing in the late 50s and 60s and – A lot of actors are feeling it, which is, I'm not saying it's a bad thing. It's just that if you want to keep an audience engaged as Fincher does, and I believe successfully does in all of his work,

pace timing movement clarity speed are admirable to achieve and all of that he wants the actor to be as natural as possible to strip away all the bullshit of acting yeah and become human Look, I've been lucky with other directors. Sam Mendes is similar.

pace timing movement clarity speed are admirable to achieve and all of that he wants the actor to be as natural as possible to strip away all the bullshit of acting yeah and become human Look, I've been lucky with other directors. Sam Mendes is similar.

pace timing movement clarity speed are admirable to achieve and all of that he wants the actor to be as natural as possible to strip away all the bullshit of acting yeah and become human Look, I've been lucky with other directors. Sam Mendes is similar.

I remember when I walked in to maybe the first rehearsal for Richard III that we were doing, I had brought with me a canopy of ailments that my Richard was going to suffer from. And Sam, you whittled it down to like three, like maybe your arm and maybe your leg. But let's get rid of the other 10 things that you brought into the room because I was so excited to capture this character.

I remember when I walked in to maybe the first rehearsal for Richard III that we were doing, I had brought with me a canopy of ailments that my Richard was going to suffer from. And Sam, you whittled it down to like three, like maybe your arm and maybe your leg. But let's get rid of the other 10 things that you brought into the room because I was so excited to capture this character.

I remember when I walked in to maybe the first rehearsal for Richard III that we were doing, I had brought with me a canopy of ailments that my Richard was going to suffer from. And Sam, you whittled it down to like three, like maybe your arm and maybe your leg. But let's get rid of the other 10 things that you brought into the room because I was so excited to capture this character.

So very often, Trevor Nunn is this way, a lot of wonderful directors I've worked with, they're really good at helping you trim and edit things.