Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.
I always felt completely confident - it's like in a feature film, knowing your principle character is extremely well-cast. I had that same confidence in Clive [Oppenheimer].
For example, how you would introduce a leading character into your film, and as an absolute ingenious example, [Elia] Kazan in his film Viva Zapata!, how he introduces his leading character Marlon Brando into the film. No film ever did it as wonderful as he did it.
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