I'm not going to listen to this.

Ray, you're chanting.

I'm not going to hear this now. I think the toughest thing for a director to do is to know what he wants.

It's not how to get what you want, just knowing what you want.

So many people make movies, they don't know what they want.

They say, well, I think I want this. I think I want the person to scream now, or I think I want you

to act like you're happy, no, scared.

I've heard this before, I've heard this, and once you know what you want, getting it is not that hard.

It just takes time if you really want to stick to, if you have a very clear cut. That's why I'm so in

love with the Disney animators, why I think animation is the father of, you know, cinema, live-action

cinema, because they have to have, in their mind, a clear picture of how a chipmunk rolls over in the snow. They gotta know what each side of that chipmunt looks like.

And they don't build chipmunks and roll them over in fakes.

No, they have to use their imaginations and paint these things, 12 cells a second.

And how the fur moves and how the wind's blowing.

And it's just, that's why I think all directors should be animators first.

Because you really can take the imagination and become something tangible.

It's, you know, just something you can hold in your hand.

You can say, can you see this?

No, well, I can.

You know, and then you make that, make that happen.

The Pink Smoke presents the Pure Cinema podcast.

Hello, Mr. Kane.

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