[0:01]I hate long hours.
[0:07]certainly in the business that we're in, um, there is a great tendency to overwork people. As an actor, I am given a kind of union buffer and that I have to be allowed a certain number of hours between the time I leave work and the time I have to come back to work. I really see that as a great privilege. I'm so glad that somewhere along the line, somebody did that for actors, because it really is helpful. So you get a certain amount of turnaround which is 12 hours, but every single movie I've been asked to forego that turnaround, and you feel like you're so lucky to be doing the job that you are doing. that you don't want to be a bad sport and you don't want anyone to think that you're not giving it your all. just watching the crew that they work for the moment they get to work till the moment they leave work. I work in kind of little bursts. For me, if I see the crew getting worn out and tired and overworked, then I won't then I'll say, no, I have to have my 12 hours. Because if I have 12 hours, I know they have a fighting chance at a nap or something. producer has to come to the actor and say, you know, we really, we're we only have this location for one more day. We we had a problem with the camera, it broke, we lost two hours, can you come in a little early, or can you work a little longer? And they're required by law to ask us and to say, can you break that rule? when you compare what happens with the actors versus what happens with the rest of the crew, you get some sort of picture as to um the imbalance there. The crew has to get there before the actors and they leave after the actors. So the crew is working even longer hours than the actors and the actors are supposedly protected and even we're exhausted. So, I mean, I've worked so many movies where I've actually worked 20 hour days and and that's me as an actor, so you know that the crew is working even longer. Everyone is on the set is a perfectionist. If the director, whether it's the gaffer, whether it's the lighting, lining person, whether it's the the DP, the and the actors. If you're a perfectionist, then you want to be at the top of your game, and when you work too long, long hours, you're not at the top of your game. that there really isn't anything worse than fatigue. It just saps your energy because you're you're your daydreaming, basically. You're your body can only take so much, your mind can't focus. I hate long hours. I don't like working past my competency. boundaries, it's bad for everybody. how much do these long hours affect creativity. For actors, maybe not as much as one would think because 45 minutes to set up a shot, we go back to our dressing rooms, we sack out. The people on the line though, the cameraman, the assistance, the people who don't get that chance to rest for a while. You can imagine what 18 hours does to their concentration. there should be some it it doesn't doesn't make any sense that there's not a law or a rule that says that, you know, there has to be a certain limit especially um when there's a long drive involved. Well, I think that we're all kind of one entity, that there's no piece that needs more rest or or no piece that's less important than any other piece. That's the way I've always looked at it. Each person is incredibly vital and valuable. Who needs sleep? Who needs sleep?
