Collaborating on The Score
I was kind of the cook and all these people were bringing
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.
You can make the final decisions, but you hired talented
people to do the best work they can.
The Score (2001)
In & Out (1997)
The Indian in the Cupboard (1995)
What About Bob? (1991)
Dirty Rotten Scoundrels (1988)
Little Shop of Horrors (1986)
The Muppets Take Manhattan (1984)
The Dark Crystal (1982)