Michael Imperioli: Why Line Readings Drive Actors Crazy

Yeah, that was an interesting take because that guy was a, he was a young guy and he had never been the star of a movie before and they were making this movie and because they, you know, they put money into this, the executives were giving him line readings. There was a guy who was wearing cufflinks, an expensive watch and this really nice tailored suit and he was saying, he was telling him how to be funny. That was Bob Simons. That was probably the producer. I don't know who it was. Because I worked, I did a movie with him, C-Spot Run and this was after that. That's what it was. Did he need line readings or the guy was just being an asshole? He was just being a fucking guy with money. He's lucky that he gets mad for something like that. Certain situations, you don't do that. Well, I think, you know, the guy wanted to do the movie. He was happy to be the star of the movie and he just took it. Remember when they gave Dominic a line reading? Dominic's the most calm, Dominic Kinesi played Uncle June, the most calm guy, just sweetheart and somebody gave him line readings and he flipped out. I was in the car, we were in the camera car and I was driving on the New Jersey Turnpike, you know, they were towing the car but the camera was there and I was stuck. I couldn't get out and the director came over and Dominic was going, don't tell me how to do it, just tell me what you want. And this is the nicest man in the history, right? And he was going, don't tell me how to do it. Just tell me what you want. What is the thing about actors with line readings? Because then you get, you're now, you're not discovering it. You're not creating the moment, you're just imitating it. So it's not organic and it's not, might not be as interesting as what you're going to come up with as an actor. But it doesn't bother me so much. A lot of directors don't know how to deal with actors, so they think that that's helpful. But it's actually the opposite. It's not helpful because... When they give you a line reading, they would actually say the line the way they want. Yes, sometimes they will. And you know what? That doesn't bother me. Bodies may flip out. It hasn't happened much. I've gone off on directors for that. And especially with a sitcom, which I find very difficult. I find one hour dramas, I like that so much more. sitcoms a different rhythm, a different beat. I don't think I'm very good at it and I've done quite a bit of them. The guy's giving me a note. I said, just tell me what you want, man. How do you say it? Tell me how to say it. How fucking do what you want? Because obviously I'm not getting what you want. I want to make the director happy. I want to do a good job. Tell me. It doesn't bother me that much. I have had directors... I did a movie with a young kid. It was a really good role. A younger kid. After every take, he came over to talk to me. I went, just let me fucking do my thing. I'll figure it out. Yeah, they're not appreciative of the fact that you've got to think about what you're doing and if they're yapping at you, then you're thinking about them and it interrupts this whole process. Absolutely. You freak out though, Michael. Yeah, because as an actor, you have to... You're playing the scene, the reality of the scene, whatever it is. This guy's saying something and it pisses you off. So that's what you're trying to create. That's what you're trying to redo. Someone tells you, say the line like this, well then I'm not in the moment. I'm not dealing with this. I'm just thinking about imitating this douchebag who just told me to say something a certain way. You know what I mean? I had a director who said to me, make a comical face. And I said, I don't know what that means. Do you want me to be happy? Do you want me to be ecstatic, over the top, really excited? Make a funny face. And then I said, I don't know what that means. I think he said be more cartoonish. And then he said, well, I'm not really good at... I swear to God. He said, I'm not really good at giving direction. I said, that's your job. That's actually the title of the job, is direction. Well, do you feel like as an actor, it's a strange thing to do because you're creating something but it's also this collaborative effort. You're working with the other actors but you're also working with the director. There's the script that you're supposed to be following and maybe there's some changes to the script and there's so much going on to try to create your version of it that the more that people are fucking with you, the more that's gonna just throw you off the rails. It does. And what I found is the best people, the best director, best actors and writers make it so you feel very comfortable and that you are free to create and that you're not being dominated and dictated to and stuff like that. Like for instance, the best example is Martin Scorsese, who I only worked with once in a movie. I felt like I could do no wrong. He creates that environment where you feel completely creative and free. And that doesn't get better than him. Doesn't get better. I would imagine that that's a real skill that you hone to be able to look at it from the artist's perspective, from the actor's perspective and just to figure out how to be the least annoying, the most supportive and then just sort of convey what you're trying to get done in the scene. 100%. I mean, both ways. As an actor too, you learn how to deal with different types of directors and give them what they want and satisfy yourself at the same time. When you're not a skill, when you're learning, it's harder to do that. I got fired from my very first professional job. I was 21. I had been studying for a long time. I had been auditioning. Never got anything. I get a play. And I was a lead in a play off Broadway, but it got a lot of attention because it was based on a true story. I got fired after the opening weekend because I didn't respect the director. I didn't think he knew what he was doing. I didn't know how to give him what he needed and still do my own thing. I wasn't skilled enough yet, so they fired me. It was devastating. But a lot of... I work with Clint Eastwood a few times. It's with the casting. He's relying on you. That's why he cast you. So a lot of directors, even big ones, they don't even give you any direction. They hired you. And that's okay. You did your thing. I don't like that. Yeah, absolutely. You did your thing, and now go ahead, take it away. I mean, you know. Right. They trusted. And it's a lot... He believes it's a lot with the casting.