Page 67 - Metropolis Megazine nº118

that, that at some point she stares at get that. And so, you try to adapt
the camera in TV, but she stares at us. to it. And then, yeah, I love actors.
But I was afraid it wouldn't It worked. That's my main thing. And I love I
Instead, I think she did an amazing love to work with them. I love to put
job. And we didn't have much time. It them at ease and make them sound as
was two shots, and it was done. more natural as possible. And that's
the big part of what I love about
You were also an actress, to what directing. And I think the acting,
extent did this sensitivity allow my previous acting career really,
you to better direct your cast, can really helps. It's very like an instinct,
anyone who sees this film say that an instinct thing. It's not even... I
there is great work here in the don't have any technique, I think.
direction of actors. But I love to work with actors, and
Giulia Louise Steigerwalt: Well, I that part is the central part. I could
think the acting in my life, I knew I do a movie with no art designer,
wasn't meant to be an actress. I did nothing, only actors, and I would be
it. I had fun, but it wasn't what I was happy with that. But I think I could
interested in. But then it really paid have never done it without being an
off for both, for writing, because actress before. After this, I think
when you write, you put in the actor's directors should try to act a little bit,
mouth words that don't sound like not to pursue an acting career, just to
written. Once you are an actor, you work with actors.

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