morgenstern

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  1. soupsoup: kapookababy: From a really great At The Movies interview … MARGARET: Why did you want it so much?ROBERT DOWNEY JR: So I could be sitting here looking at a poster in back of you, with my hair done up all cutsie, and a big shining knight of armour in back of it. … MARGARET: I think it’s been written well. How much of an input did you have into that writing development process?JON FAVREAU: Well, there’s no real - I mean, there’s no real script, per se, on a film like this, compared to the smaller films you work on where you have a script, you lock it, you try to get financing and then you get your cast, and then you get your release date and then you get your poster. This one is the other way around. Here you get your poster; you get your release date; you get your cast; and then the last thing you get is your script. … MARGARET: I know this is a stupid question, but where does the talent come from to do what you do? ROBERT DOWNEY JR: Experience, I guess. I don’t even know. I think the talent thing is kind of a - I don’t want to be a schmuck about it, but I think if you -you could literally walk out on the street and point at somebody and say, “I want him or her to be a fully formed, gifted actor or actress inside of six months.” And if I was training them, I’d be like, “Please. That’s a no brainer.” I think talent is, like they say, you know, where opportunity meets la-la-da-da and the rubber hits the road, and all that stuff, and perspiration rather than inspiration. It’s very rare that I have been working on a character or been on a set or in a location and said, “Boy, I feel so darn inspired today, I just feel talent pouring through me.”Instead it’s more of the groundwork; what it is to be an actor on a movie set given - you’ve given an objective. The objective is: this is the scene you’re doing; and here are the beats you want to hit; and then it’s kind of like you can’t - basically, what I would do in the six months with that man or woman is I would say, “We don’t do a waltz here. We’re not playing rock and roll.We’re not doing blues’ progressions. We’re doing jazz, so it’s going to be in this key, and what you have to do is improvise.” And you show them what notes to hit and what notes not to hit so it doesn’t offend anyone’s ear. And that you would call, in my estimation, talent.

    soupsoup:

    kapookababy:

    From a really great At The Movies interview …

    MARGARET: Why did you want it so much?

    ROBERT DOWNEY JR: So I could be sitting here looking at a poster in back of you, with my hair done up all cutsie, and a big shining knight of armour in back of it.

    …

    MARGARET: I think it’s been written well. How much of an input did you have into that writing development process?

    JON FAVREAU: Well, there’s no real - I mean, there’s no real script, per se, on a film like this, compared to the smaller films you work on where you have a script, you lock it, you try to get financing and then you get your cast, and then you get your release date and then you get your poster. This one is the other way around. Here you get your poster; you get your release date; you get your cast; and then the last thing you get is your script.

    …

    MARGARET: I know this is a stupid question, but where does the talent come from to do what you do?

    ROBERT DOWNEY JR: Experience, I guess. I don’t even know. I think the talent thing is kind of a - I don’t want to be a schmuck about it, but I think if you -you could literally walk out on the street and point at somebody and say, “I want him or her to be a fully formed, gifted actor or actress inside of six months.” And if I was training them, I’d be like, “Please. That’s a no brainer.”

    I think talent is, like they say, you know, where opportunity meets la-la-da-da and the rubber hits the road, and all that stuff, and perspiration rather than inspiration. It’s very rare that I have been working on a character or been on a set or in a location and said, “Boy, I feel so darn inspired today, I just feel talent pouring through me.”

    Instead it’s more of the groundwork; what it is to be an actor on a movie set given - you’ve given an objective. The objective is: this is the scene you’re doing; and here are the beats you want to hit; and then it’s kind of like you can’t - basically, what I would do in the six months with that man or woman is I would say, “We don’t do a waltz here. We’re not playing rock and roll.

    We’re not doing blues’ progressions. We’re doing jazz, so it’s going to be in this key, and what you have to do is improvise.” And you show them what notes to hit and what notes not to hit so it doesn’t offend anyone’s ear. And that you would call, in my estimation, talent.

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