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I'm not into that method acting thing. I just turn up, say my lines and go home.
Here is how I work: when I think that a film needs to have a principal theme, I search for a melody.
My kids don't watch my movies. What I want to do is go home and hug my kids, talk to them and engage with them.
I learned how to turn it on and turn it off. You learn that in theater, too, but for film work, I learned from doing 'Henry,' I learned how to leave work at work and go home. There's always spillover. Actors speak of this.
It's not in our nature. Americans have never been a people that drive through a nice neighborhood and say, 'Oh, I hate the people who live in these nice houses.'
Around 1969, my family had just bought a house in a lower-middle-class white neighborhood two blocks away from school. Then, all of a sudden, all the white people left the neighborhood and the school.
When the players go home, I can't tell them what to do, so you need to create an atmosphere of trust. I don't want to think, 'What are they doing now? Do I need to call them?'
I should be in an old people's home now, counting the roses in the wallpaper. It's a good life, isn't it?
But we want peace, I would move all my people down this way. I could then keep them all quietly near camp.
