I Have A Lot Of Stuff I

We're In A World Of Truncated Sentences, Soundbites And Twitter... [language] Is Being Eroded -- It's Changing. Our Expressiveness And Our Ease With Some Words Is Being Diluted So That The Sentence With More Than One Clause Is A Problem For Us, And The Word Of More Than Two Syllables Is A Problem For Us.

I Have A Great Editor And I Enjoy, In A Masochistic Way, Being Ruthless About My Own Performance. How Do I Know, But I Think I'm Quite Good At Saying, "that's No Good. That's No Good. That's It. That's It. That's Good." And I'm With The Editor Who Goes, "no, I Think You're Wrong. That's Not Your Best." There's An Initial Point In The Editing, If You're Directing Yourself, Especially In My Case, Where You Go, "ouch, Ouch, Ouch, I Can't Watch This." And Then, There's A Point Where You Become Hard-nosed And Just Take Your Neurosis Away And Go, "what's Working? That's Okay. That's Okay. We Can Lose That, And Lose That." You Get Objective About It.

Performance Is Made In The Editing Room, And I've Come To See The Truth In That - The Idea That They Say Performances Are Usually Made In The Editing Room Because What You Film Is The Raw Material. I Think Just Going Through The Process Of Saying, "which Take Do We Use? Why Is That The Take We Want? I Want That Take Can You Edit Again, I'm Not Sure That's The One, I Think It's This One." And Just Because You Go Through That Process, I Think Somehow It's Made Me Sort Of More Open About The [actor's] Possibilities.

In Shakespeare, Keep It Simple. Don't Over-inflect. The Speech Needs To Be Naturalistic And Simple And Accessible As Much As Possible.

Kenya Doesn't Have Much Of An Infrastructure For Hosting A Film Of This Scale. Our Producer Decided That For The Film To Really Work It Had To Be In Kenya.