Matthew McConaughey

It's simple. I'm letting you know. I'm easy prey, man. Like a coyote. Tell me to go that way, I'm going to go that way. So just tell me you want me to go the opposite way.

It's simple. I'm letting you know. I'm easy prey, man. Like a coyote. Tell me to go that way, I'm going to go that way. So just tell me you want me to go the opposite way.

It's simple. I'm letting you know. I'm easy prey, man. Like a coyote. Tell me to go that way, I'm going to go that way. So just tell me you want me to go the opposite way.

I'll fall right into your hands.

I'll fall right into your hands.

I'll fall right into your hands.

Well, to one is a lot of directors... If things are going well and your actors, you know, and it's going, the performances are going well, have the confidence to sit back and go, yep, next. Because we get hot hands sometimes. Yeah. And you don't want a director and you also don't want an actor that's competing for the best idea.

Well, to one is a lot of directors... If things are going well and your actors, you know, and it's going, the performances are going well, have the confidence to sit back and go, yep, next. Because we get hot hands sometimes. Yeah. And you don't want a director and you also don't want an actor that's competing for the best idea.

Well, to one is a lot of directors... If things are going well and your actors, you know, and it's going, the performances are going well, have the confidence to sit back and go, yep, next. Because we get hot hands sometimes. Yeah. And you don't want a director and you also don't want an actor that's competing for the best idea.

It happens in those, probably in those situations. Some of those green rooms, right? For sure. You know, because I've been around some of those. There's competition for the best idea. And when you've got the hot hand and you've had the best six ideas in a row on a set when you're acting as a director, I want you to have the 7th, 8th, 9th, 10th, 11th, 12th, 14th, 40th in a row.

It happens in those, probably in those situations. Some of those green rooms, right? For sure. You know, because I've been around some of those. There's competition for the best idea. And when you've got the hot hand and you've had the best six ideas in a row on a set when you're acting as a director, I want you to have the 7th, 8th, 9th, 10th, 11th, 12th, 14th, 40th in a row.

It happens in those, probably in those situations. Some of those green rooms, right? For sure. You know, because I've been around some of those. There's competition for the best idea. And when you've got the hot hand and you've had the best six ideas in a row on a set when you're acting as a director, I want you to have the 7th, 8th, 9th, 10th, 11th, 12th, 14th, 40th in a row.

You're hot, man. Yeah, go. You're getting me what I want and you're owning it. Let's do it.

You're hot, man. Yeah, go. You're getting me what I want and you're owning it. Let's do it.

You're hot, man. Yeah, go. You're getting me what I want and you're owning it. Let's do it.

If the director will try my way or try the way I want to do it and sincerely go, I see that. Now we try it this way. I'm much more able to go, damn right I will, and I'm going to give this real justice. I'm not worried that it's my idea. We just want the best idea to happen. Sure.

If the director will try my way or try the way I want to do it and sincerely go, I see that. Now we try it this way. I'm much more able to go, damn right I will, and I'm going to give this real justice. I'm not worried that it's my idea. We just want the best idea to happen. Sure.

If the director will try my way or try the way I want to do it and sincerely go, I see that. Now we try it this way. I'm much more able to go, damn right I will, and I'm going to give this real justice. I'm not worried that it's my idea. We just want the best idea to happen. Sure.

The other thing is that when you're in a movie, I always say this, the communication with the director is what you do between action and cut. It's not what you say outside of it. Here's what I think we want to do in the scene. All that can be great to get there, but really your communication is what you do between action and cut.

The other thing is that when you're in a movie, I always say this, the communication with the director is what you do between action and cut. It's not what you say outside of it. Here's what I think we want to do in the scene. All that can be great to get there, but really your communication is what you do between action and cut.