It was a 'Tarantino' type of day

Making movies is a compulsion, not a reasoned act.
It was a 'Tarantino' line he said to me
I'd asked him what my attitude was towards the
lines and the subtexts of my character's life. He said the man was pissed off; and someone else said: 'think spotted dick,'
Think some horrendous poisonous pudding from a boarding school horror story:
You are pissed off, to keep it simple. the Director said again.

Okay. Three Takes and it was a wrap. It was cool. Maybe it was Saturday and the shot was perfectly as the Director had envisaged it
From his robot the actor: and he didn't want to confuse himself with a range of variable options: each differing by a nuance. They always take a second take
because they can't trust the first, and why should they.
The second is rarely satisfactory, most commonly for technical reasons.
It is always the third one that was the clincher. I am proud of my rep: Three takes and it's in the can.

My fellow workers: members of the cast against whom I played, then
said they had played with Burton and I was too stunned to respond: I have been compared to Connery, Burton was an accolade above belief: like being compared to a god.
I was in the bring down phase then. A day's work well-rewarded, completed in three, six or seven second takes. It was a short scene delivered with unspeakable menace. I heard the Director mumbling a profound 'ominous'. I had done my job the way I like it to be done, perfectly. We'd had lunch, I had performed my lines and then I left: well wrapped. OJ was closer to his rendezvous with the 'Bucs' for the big game of the day at six. And everybody was happy.

The pay is the same if you do three takes or thirty three-and I have been on a Set on occasions when it took that many takes to get the result the Director wanted. I was on a Set for some other purpose earlier in the week where the lead actor 'fell' down a flight of stairs at a Buddhist temple about twelve times while they slowly got what was wanted and then the stunt man had to do it for real at least eight times before they were all happy. I felt good that I'd only needed three takes to menace the room.

I look forward to seeing me on the drama series, which I understand is called Angel's Song, and should be appearing on a TV channel in your neighbourhood one day, in some undefined immediate maybe intermediate future. I say that [I look forward to seeing me] because I do these things only occasionally as a retreat from our common mundane dreariness of fighting with a decaying city with an exasperating work ethic, day after day.

Most commonly I'm simply part of the wallpaper of our times-I missed me when I was the bad guy in Boomspruit some years ago: that took a few day's work and required a whole lot of action shots and plenty of bang, bang. The guys were happy. We shot the takes more slowly, there being more people in the scenes. Then the business of maintaining the economic flows of life became too demanding to afford the luxury of working almost for free, and I took a gap from the lines.

So when the opportunity arises to actually say some lines I must use everything I ever learned to make the shot perfect: to fulfil the empty randomness of our material existence as defined by our director and the fellow with Spotted Dick.

Mostly though I want to see how I played, a 'Tarantino' take.