0:00:00.000,0:00:06.390 the process of actually discovering what[br]the film is for me is the journey of 0:00:06.390,0:00:12.900 making the film the key process is[br]getting out there on the location and 0:00:12.900,0:00:16.920 shooting the film and it's during that[br]but I really discover what the film is 0:00:16.920,0:00:21.480 and that is a collaboration of a very[br]involved in organic kind which is not 0:00:21.480,0:00:25.740 just about the actors but about the[br]cinematographer the designers the sound[br]man the weight of the editor and 0:00:30.119,0:00:39.360 everybody else but in order to do that[br]each film is preceded by what these days 0:00:39.360,0:00:43.559 is usually arounds not about six months[br]of doing the kind of work that I would 0:00:43.559,0:00:47.489 elicit Lee referring to which[br]principally involves the actors that of 0:00:47.489,0:00:51.840 course it involves the other people too[br]because obviously we have to prepare the 0:00:51.840,0:00:55.320 film that we're going to shoot and we[br]all have to be when we get to day one of 0:00:55.320,0:00:59.280 the shooting which is the only time but[br]it really matters because frankly if 0:00:59.280,0:01:02.100 you're making a movie nothing matters[br]except what happens in front of the 0:01:02.100,0:01:08.070 camera when it turns over that the[br]period before that that the beginning of[br]that period and there is no structure at 0:01:11.220,0:01:16.140 all there is no five or three act[br]structure or anything else there is a 0:01:16.140,0:01:23.700 feeling a concept a notion possibilities[br]but the time we get to the point before 0:01:23.700,0:01:28.890 the shoot there is a structure a broad[br]structure which I I do put on very 0:01:28.890,0:01:33.180 briefly on paper in a very schematic way[br]but I think it what I have to say is 0:01:33.180,0:01:42.990 that all art in every medium is a[br]synthesis of improvisation and order all[br]artists no matter when you write or 0:01:45.240,0:01:52.490 paint or sculpt or make music or write[br]poems or whatever you do all artists 0:01:52.490,0:01:57.509 will have to a greater or lesser extent[br]and sense of what they're going to do 0:01:57.509,0:02:01.560 and perhaps not it may be down there I[br]love and up there 0:02:01.560,0:02:05.490 in other words completely intuitive not[br]not in any way cerebral or intellectual[br]or rational it may be a strong sense of 0:02:10.669,0:02:15.620 something that inevitably has to be done[br]or something that really has to be 0:02:15.620,0:02:22.700 fleshed out or discovered or dug up from[br]some depth just by the sheer act of[br]investigating Picasso paraphrasing 0:02:30.930,0:02:36.540 Picasso said words the effect that if[br]you know what you're going to do before[br]you do it what is the point of doing it 0:02:38.720,0:02:47.790 it is not extraordinary for artists to[br]either a not know what it's going to be 0:02:47.790,0:02:53.600 until you start to investigate and then[br]you interact with the material or be to 0:02:53.600,0:02:56.940 think they know what it's going to be[br]and it turns out to move in another 0:02:56.940,0:03:02.880 direction or see to have a clearer[br]notion which drives them into the theme 0:03:02.880,0:03:07.799 but then they're able to make[br]discoveries so all of that really is an 0:03:07.799,0:03:15.090 explanation to you the fact that I can[br]and do have in the case of some films in 0:03:15.090,0:03:19.410 the including naked and happy-go-lucky[br]as we've said have no more than a kind 0:03:19.410,0:03:24.870 of sense of feeling of the spiritual[br]thing but then I start to you know work 0:03:24.870,0:03:30.209 with this actor with Sally Hawkins in[br]the case of naked with David Thewlis and 0:03:30.209,0:03:34.290 with others and start to build[br]characters and start to this resonates 0:03:34.290,0:03:38.100 with ideas and possibilities and[br]juxtapositions of things I want to deal 0:03:38.100,0:03:44.880 with and things that I mean for example[br]happy-go-lucky is at one level quite 0:03:44.880,0:03:50.160 clearly a reflection on education there[br]are various teachers and good bad and 0:03:50.160,0:03:55.260 indifferent that's a very V poppy and[br]her comrades are very good teachers 0:03:55.260,0:04:01.140 there's a very good flamenco teacher who[br]however has doesn't know the first one 0:04:01.140,0:04:03.260 of the first rule[br]of teaching if you leave your personal 0:04:03.260,0:04:08.209 emotional baggage outside the classroom[br]and then there's this driving instructor 0:04:08.209,0:04:13.569 called Scott brilliantly played by the[br]Marsan who is full of all kinds of[br]quantification and stuff about teaching 0:04:17.750,0:04:20.988 but in fact understands nothing about[br]teaching it's always a lousy teacher and 0:04:20.988,0:04:28.910 but it didn't occur to me but to[br]investigate teaching until I came to it 0:04:28.910,0:04:33.979 through creating the characters and it[br]isn't that suddenly out of a blue light[br]or our education that's something I've 0:04:36.080,0:04:39.139 never thought of I'm going to make this[br]film about it it's something that I'm 0:04:39.139,0:04:44.240 obviously like everybody you know it's[br]an ongoing proc you patient I've been on 0:04:44.240,0:04:50.150 the end of the education system I teach[br]time two times substantially and of[br]course I I've raised a couple of now 0:04:53.090,0:04:56.449 adult kids and so I've been preoccupied[br]with education from that point of view 0:04:56.449,0:05:02.240 so you see kind of again as we artists[br]and people of various kinds of create 0:05:02.240,0:05:06.919 things do you kind of have ongoing[br]preoccupations when you have very 0:05:06.919,0:05:11.500 specific things that you set about