Hopefully, as I get older in the business, I make my choices more accurately, and I perhaps know from either the script or the first meeting that it isn't going to work.
If the director wishes to print it, then you have a series of choices, maybe millions of choices within that minute-and-a-half, or 80 seconds, or 2 minutes or however long or short the take is, you have all those choices committed to celluloid. I find that absolutely thrilling.
The number of choices you make in the event that you see on stage, those choices are sometimes largely determined by the rehearsal process and the experiments that you go through and the choices that you make in the rehearsal room, not in front of an audience.
I don't do anything that would ever come across as advice or suggestion, but it's just part of a debate. Like, "I would like to try this," or "Let me do another one with more stillness, let me emphasize that." Rather than "I think you should emphasize this, I think" - you know, I don't impose choices.
I want to play a man in uniform. I've got tremendous respect for that life that they lead. We know so little about it. It's never discussed or talked about, when they come back from battle. I want to examine the choices that have to be made in those terrible times. [...] I'll get to wear a uniform.
