To a certain extent. I'm a fan of rehearsal on the day [of the shoot], more than getting together a week beforehand.

I've studied Stanislavsky, and Mamet taught Stanislavsky, and I studied with Sanford Meisner. But the part of the method that I think is the most fruitful is the method of physical actions. It all comes down to your objective: Nothing else counts except what you want. How you feel will take care of itself.

With an inexperienced director, a lot of times the days go on to 14, 15, 16 hours. It goes horrendously overtime. And because of the lack of money, they just keep you there, regardless of the hours.

The emotions will take care of themselves. You don't have to prod them along. As a matter of fact, you get in trouble when you prod them along.

I love directors who talk action as opposed to emotion.

A good actor's director, first of all, is prepared, so there's not an exorbitant amount of wasted footage.

Ultimately, a more experienced director realizes that you've got to stop sometime and just move on. They're braver about that.