British - Director | February 5, 1948 -
It's difficult to articulate how I know it's the right actor, but I do. It's instinct. Intuition.
Christopher Guest
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'The Office' is an amazing show. So is 'Extras.'
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I would make a huge distinction between theater improvisation and film improvisation.
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There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage.
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The truth of it is that people are not going to want to go to improvisational theater if it's not funny. You can succeed in doing all the things you're supposed to do - be truthful to scene - and if it's not funny, I'm telling you that no one's gonna care.
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In the kind of films that I do, there is an extremely limited number of people that can improvise. The reason the ensemble continues in the movies is because those are the people that can do that kind of work. It's not just an accident those people are in the film.
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Mean doesn't last. Mean is over fast. Maybe this is the essence of everything, which is, to me, if there is no emotional center for what I'm doing, I have no interest in it at all.
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To me, what I realized when we were doing 'Spinal Tap' - and the four of us wrote that - is, really, the core of that is the relationship with the two guys who grew up together and that strain when the girlfriend comes in. If that wasn't there, it's a very different movie. Then it's just bumbling guys stumbling along.
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I'm drawn as well to the lower echelons of things because it struck me a long time ago that it didn't really matter on what level people were working on anything; it was just as important to them as the people working on what's perceived as a higher level.
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I think fans are so brought up in a culture of rooting for a team since they were kids, ostensibly, and are blind to this idea that people might take offense.
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I don't do any editing while we're making the movie. I sit down and watch it all with my editor, we make longhand notes on pads, and then we begin our work.
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The main thing that's important to me is getting to do whatever project it is the way that I do what I do, and that's different. To go to an entity - whether it's a traditional film studio or some newer company, or HBO, Amazon or Netflix - they would have to know that I need to work the way I work.
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