Kevin Spacey: preference

Transcript context

…Because you’re sharing the secret of the darkness of how this game is played with that best friend. Yeah. And there were many times when I suppose the writers thought I was crazy, where I would see a script and I would see this moment where this direct address would happen, I’d say all this stuff, and I’d go, when we’d do a read through of the script, I go, “I don’t think I need to say any of that.” And they were like, “What do you mean?” I said, “Well, the audience knows all of that. All I have to do is look. They know exactly what’s going on. I don’t need to say a thing.” So I was often cutting dialogue because it just wasn’t needed because that relationship between… And I’d learned, that I’d experienced doing Richard III, was so extraordinary where I literally watched people, they were like, “Oh, I’m in on the thing and this is, oh, so awesome. ” And then suddenly, “Wait, he killed the kids. He killed those kids in the Tower. Oh, maybe it’s not…” And you literally would watch them start to reverse their, having had such a great time with Richard III in the first three acts, I thought, “This is going to happen in this show if this intimacy can actually land.” And I think there was some brilliant writing, and we always attempted to do it in one take. No matter how long something was, we would try to do it in one take, the direct addresses, so there was never a cut. When we went out on locations, we started to then find ways to cut it and make it slightly broader. But- That’s interesting because you’re doing a bunch of, with both Richard III and Frank Underwood, a bunch of dark, borderline evil things. And then I guess the idea is you’re going to be losing the audience and then you win them back over with the addresses.…

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