going out to these protests, it s a mix, but the vast majority are people who ar carrying israeli flags these are the vast majority, still support the israel military occupation, and whe the simple issue of raisin israeli apartheid is raised, they keep telling palestinians not to raise that issue. so, on the one hand, they ar asking for democracy on the other hand, they don see how for palestinians, this has been a dictatorship an will continue to be dictatorship, because that i what it is to live under israeli military rule. it means that you don t have the right to choose your own governments, to be able to decide your own future but instead, you are living unde the thumb of another government so, even if you look at th current composition of thi government, out of the - best set - out of the 120 members of th parliament, 110 of them suppor the occupation it s only ten, and those ten happen to be arab, that don support the occupation so, only those ten support you will wr
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the students looking at the subject, at the model in the life drawing class, the actor has got, you know, he or she is going to start to stand up and play this person they actually know, and then that person they know, and then we meld them together and the character is created. but, of course, the two famous myths about what i do with actors is, one is that the actors come with ideas, and the committee is formed as to what the subject. that s not the case at all. in fact, it s very it s essential that they. ..when i say to an actor, participate in this piece of work, this play or this film, we can t talk about a character, because there isn t a character. you and i are going to collaborate to create a character, and you will never know anything about the whole thing, except what your character knows . so they don t know about the other characters? not until, not until and unless they meet them in the context of the work. are they banned from talking
which wasn t directly related to theatre or film was the foundation course at camberwell. but it was there that i had a really seminal experience as an artist. we were all sitting around and had a nude model and everybody was quietly drawing away and i looked around the room, and i thought, what is happening in this room is something that we never experienced for one split second at the royal academy of dramatic art . really creative work is happening. everybody in the room is looking at something that s real and finding an organic, truthful way of expressing it, which we didn t do as student actors. it was all mechanical and superficial and inorganic and, therefore, dull. and that revelation in that moment in the life
in that moment, in the life drawing class, that, you know, absolutely resonated with notions that i had on the go, in a primitive form, at that point in time, that somehow you could create. ..theatre, you could create films, in an organic way by collaborating in a way, and using rehearsal as more thanjust a mechanical way of interpreting what somebody had already put down on paper. and so, from what i understand, you gather a cast of actors. you have a subject, in a very broad sense. you never give a title to the film, they re usually untitled, and then the year in which you re making the film, and then you ask each of those actors to create their own character. well, i collaborate with each actor to create a character. and what i do to start
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