First, speaking for myself, I don't want to ever be in a position where I'm telling other directors how to make movies, because I don't think it's any of my business.
I think all great actors - and I don't classify myself as one of them, incidentally - but I think all great actors listen well and I've learned that from a lot of the very good actors with whom I've worked - to really listen to what people say.
I sought Ben Affleck because I needed an everyman for this role. Ben appeals to men and women. He gives you a sense of intelligence, the notion of a guy who can think on his feet.
I mean, this whole digital revolution is really eroding the director's importance on a movie because, number one, just from a practical standpoint, with floppy disks and the ability to put all of the film onto a disk, more people have access to the movie.
Historically the director has been the key creative element in a film and we must maintain that. We must protect that, in spite of the fact that there is new technology that's continually trying to erode that.
But I really am very active in the choice of the line producer with the producer of record and the distributing company, because I've had some terrible, terrible experiences with some line producers, particularly in cable.
And in Hollywood, you know, everyone is an expert. Most of them are expert editors. They can't direct, they can't write, they can't act, but, by God, they all think they can edit.
And I kind of feel that I have a responsibility to the people that invest their time and money with me to show up on the set every day and do the best of which I am capable.
A disk unbeknownst to the director can go to the producer in another city or in another office and that producer can edit behind the director's back much easier than in the old days. Since these dailies are now put on videotape, more kinds of people have access to dailies.
