Well, I think on second units it's all about execution. Because you come in there, you don't have to worry so much about the studio and all the other actors and all that.
I mean, if you are directing actors to do one thing and then directing them to do something else entirely because the one thing you wanted them to do may not work, then you are just shattering their confidence in the project.
I would love to get great performances from actors as a director, because that's what I'm always looking for, a director that's going to help me go places I've never been before.
It makes me feel good that I can now sit there and go, I've worked with Jack Nicholson, Al Pacino, all the great actors that I've worked with... Sir Ben Kingsley.
I remember hitting Sarah Michelle Gellar with a right hook during my first week on the job. It was awful. They usually pair actors with stunt doubles to avoid things like that.
Although there was a screenplay, the actors never knew what questions I was going to ask them, and all of my character's voice-over narration and scenes were added after the fact.
For hundreds of years, that was the major form of entertainment: The grown-ups sat around and watched the kids play. Now they sit around and watch the television. The actors are the kids.
