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Melodies are just honest. They can only be what they are. Words have the capacity for deception. They're all full of subtext, and some of them are cliche and overused and vernacular. They're tricky. All I can say is, words are tricky.
I would say what Mad Men has taught me has been a super elevated evaluation of text in general, and understanding subtext, and understanding where a character comes from - what he means by this or by that.
I believe that filmmakers have to internalize the story and subtext so well that all of the departments can start to speak to each other - that music can speak to cinematography can speak to writing and back again.
I like to really know what every scene is about, what the text is, what the subtext is. Then I figure out how to express that when I'm shooting.
All the music I loved as a child, people thought it was junk. People were unaware of the subtext in so many of those records, but if you were a kid, you were just completely tuned in, even though you didn't always say - you wouldn't dare say it was beautiful.
'Ocean's Kingdom' is a fairy story with no subtext, no resonance - it's not about anything except its water-logged plot.
I think I am more attracted to characters with a subtext, whatever that is and they don't necessarily have to be virtuous, but they have to at least be human.
As an actor, you are always looking for subtext, for layers, for what's going on underneath.
For me really good acting is about subtext.
There's no subtext in 'Harry Potter,' really; it's all magic - anything can happen. Why do I say this? Because it's a magic spell. It's quite nice in a way. There is a real freedom to it. Doesn't say much for acting, does it?
