As actors, we went where we wanted to, and the camera followed us: it was like having another person in the room. There was no formal structure to the process. It was very liberating.
I remember that. I was talking to him and I said how great it would be if actors had a tail because I have animals and a tail is so expressive. On a cat you can tell everything. You can tell if they're annoyed. You can tell whether they're scared.
We have actors from other films, from 'Baywatch,' and so on, and these people are looking exactly the opposite of what they are. The transformations were so smooth, and so funny to watch, it was unbelievable.
I got to draw monsters, robots and write funny stories. I loved doing that stuff and working with the actors. But it got to be less and less that stuff and more about trying to be everywhere and not being able to do one thing very enjoyably.
It's such a small industry here you inevitably end up working with the same people over and over again. There are only so many actors to go around, which is good for us.
There's only so much you can do until you get on set and see the aesthetics of what you're dealing with. Then you see what the other players are giving to you. It's all about the transfer of energy between different actors.
