You adhere to the script and all that, but you can invent any kind of inner life, because every kind of inner life will be correct where as other directors will tell you, no, not every kind of inner life is correct and you know what I want you to be thinking here is this. So if you just accept the fact that David’s a good director, than you accept the fact that you can do anything in front of his camera. How simple it is to suck because a director sucks. Gilroy: And they want to protect themselves. I think actors get really antsy because they want to control their performance and they want to direct their performance. You know, he’s a stickler for dialogue, but you relax. Theroux: Totally thinking, but again it’s as improvisational as you can get without improvising. You must be thinking while you’re doing it. Gilroy: What I find interesting is that Lynch is somehow, by keeping it mysterious, keeping a freshness there for the actor because there are no answers. I think that’s what happens to good actors in general. Erase all the stuff that you know is going to happen. I would say, ” Okay, but I do know David that I am going to meet the Cowboy and then I am going to cast the girl,” and he would say, “No, you don’t know that.” You haven’t made that decision yet. Theroux: Yeah, but he’s trying to erase what you already know about. Gilroy: But at the same time there is some preparation involved because you’ve read the whole script and you know what the other guy is going to say. You sit there and think, “Okay as an actor I can really just sit back and just sort of idle and let the actual scenes take place.” But everytime I would try and get an answer out of him it would only deepen the question. As far as your character goes you have to create the inner life of your character and your character’s motivation and all the rest of that and what’s good and what’s bad and do I like the taste of this and the taste of that. And let things wash over you the way that they wash over you. Period.” In a weird and great way, he’s whittled away all the work that you have to do. He’s a Cowboy and he’s gonna tell you who to cast. They’re just, they’re really powerful guys.” And than you just accept that notion, “I don’t have to know who they are,” and then I say, “Okay, but David, the Cowboy? Who is the Cowboy?” And he says, “It doesn’t matter. Who are these guys? Are they studio heads, are they Mafia?” And he said, you know, “We don’t know. Even simple things like, “You know David, in the boardroom scene, they’re telling me I can’t do the movie. He just doesn’t give you any information you don’t need. But working with him is like a whole other different ballgame. Theroux: I hung out with him and pieced it together and asked him a couple of questions. Gilroy: Does he talk to you? You know about this process because he tells you, “This is how I do it” or you just learn this by hanging out with him? You know, it’s just: things are happening. It’s not what we think of in a narrative way. He’s really just coming out with stuff that is just moving the idea forward as opposed to moving a character forward. Theroux: He’s not known for his snappy dialogue or witty banter.
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