First of all, let me say, I don't like rehearsing at all.

But I would set up a situation where they thought I was rehearsing.

And then I'd say, all right, that's it, cut, let's move on.

And they say, what? They thought it was a rehearsal.

It was a take.

I believe in spontaneity.

That's what I want to see in a performance.

And I have found, in my experience, that the best takes I get are the ones I didn't tinker with at all.

We talked about it. The actors were properly cast. They knew what they

were doing. They went out and did it. It's not about thinking. It's about doing. Filmmaking is about

picking up a camera, going out in the streets, and shooting pictures that first appear in your

mind's eye, that you then have to translate somehow through a

crew and a cast, and there's not a lot of time for thinking. I don't storyboard because most of my

films have been done on location. I visit the locations first. I choose the locations, and then I let the

locations influence the way I'm going to film a scene. And so I am open to what the location

brings to what the script calls for. I don't think in terms of enjoying filmmaking, it's very, very hard work, mentally and physically,

to try and achieve one's fantasies on film and what is essentially a two-dimensional medium

to try to suggest depth,

not simply depth of character and story,

but depth on the screen.

There's so many problems associated with putting something on film,

creative and technical problems,

...