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In a way it’s like dating: you don’t know the person very well, but you’re trying to get to know them. That’s why actors who go on set and start acting are far less believable than actors who go on set and just are. If you’ve made it to day three and you’re still on set you’re doing a good job. Sometimes you do a good job and you’re not in the finished film — as evidence in Terrence Malick films. That has everything to do with his vision and what develops out of the unknown for him.
You wait for their reaction so you can react appropriately. He comes onto the set with the same feeling of the unknown that we do.
You can’t sit in your room the night before and looking in the mirror and think, ‘This is how I’m going to do it.’ The unknown is so intriguing. You should know “Desert Dancer” had an impact on the Terrence Malick film.
[Laughs] Don’t expect political responses.” But what is brilliant about what we can do as actors is we can tell human stories.
I’m sure CNN, the BBC and so on are doing great versions of the political stories. What gets lost sometimes is the opportunity to really listen to people, and to listen to their individual stories.
Freida Pinto’s new film is an inspiring if not a happy one: She plays a member of a secret dance troupe in Iran who stage a performance, knowing that if authorities catch wind they will imprison them or worse.
As someone making a film about what’s been going on in Iran over the last handful of years, are you expected to be an expert?
Some of the questions I get I just say, “I’m an actor…