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Vadim Perelman - Celebrity Interview - 0
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Perelman find it’s best to give them a lot of input? “The opposite of that actually,” he says. “I have to stay out of the way more than anything else because they’re reaching somewhere inside to get that. And it’s probably not even sense memory, they’re just reaching inside. I don’t believe in all that acting mumbo-jumbo, actually, and I think best actors don’t have a method or anything like that. Maybe they did when they were younger but not anymore so much ‘cause they needed it to learn. Ninety-five percent of good directing of actors is casting. You cast the right people for the role and then you just do it. That’s why I don’t rehearse either. I rehearse juts for blocking, for action, and just to feel the space and so on, but I never rehearse for performance. I think it’s a mistake with good actors to rehearse for performance because they’re so good on take one and take two and it’s usually their freshest and best that you’ve just wasted take one in rehearsal without filming it. So what you get on the set later it’s take two and by then it becomes staled.”

Instead, Perelman tried to capture as many candid moments as he could, even filming Wood and Amurri without them knowing it. “What I tried to do was to get the unselfconscious banter between the girls and just see face expressions, stuff like that, just to cut in the beginning of the scene,” he says. “For example the scene where the cat is on the table and they’re at the table, I was way back out in the other room with the camera and I just go and record. And they were talking about everything that Evan and Eva would talk about, but some of that actually ended up in the there.”

The topic of school shootings is a controversial and current one in our society today, though Perelman admits he didn’t do much research into actual events. “It’s all in the book so I didn’t really need to go outside of that,” he says. “I did look at how visually it was represented in the news because I wanted it to be extremely real feeling, what’s happening outside the school and in the school. So I looked at some Columbine stuff, that’s where I got the idea of people climbing out of the windows for example, which I never would have come up with probably.”

Perelman did have influence on the movie’s source music and score, aspects which he believes are integral to the film. “The source music is the in the script usually,” he explains. “Like for example She’s Not There by the Zombies, I always wanted that because of what it means. Which is actually another twist because when [Diana] first hears it you think she’s thinking about Maureen not being there and it ends up being that she’s not there. James Horner is a great collaborator for me. He’s involved ...

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