Catching Lightning In a Bottle

A Conversation with Frank Oz

by Phillip Williams | Published February 3, 2007

Collaborating on The Score

I was kind of the cook and all these people were bringing the ingredients.

Allowing for Improvisation

Improv only works as a tool, not as a free for all.

The Guidelines for Improvisation

Story is my guideline. I know the improv has to hit certain points. There will be a few things in a scene that the actors have got to hit in order for my entire story to work into a two-hour movie.

Comedy vs. Drama

With the comedies I have to be invisible; my job is to create a backdrop so these guys can be funny. If the director gets his nose in too much and adds sexy lighting and camera moves, you lose the funny from these guys. In a drama like [The Score], I think part of what works is the style - the lighting and the camera moves.

You are taking a huge risk in comedy, because if you fail you are totally fucked; and if you fail a lot of times you are really fucked. But in a drama you are not in trouble until the end because then you either like it or not.

Strength in Numbers

My ideas get better with the help of other people - all the way down the line to the editor.

Relinquishing Control

You can make the final decisions, but you hired talented people to do the best work they can.

Filmography

The Score (2001)
Ump (2000)
Bowfinger (1999)
In & Out (1997)
The Indian in the Cupboard (1995)
Housesitter (1992)
What About Bob? (1991)
Dirty Rotten Scoundrels (1988)
Little Shop of Horrors (1986)
The Muppets Take Manhattan (1984)
The Dark Crystal (1982)

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