(lawrence kasdan) the fun of it is living on some kind of edge moment to moment and saying, "well, we're committing now, this is how we're going to see this scene." when i talk to an actor and they say to me, "what's happening here, what should i be?" we're making fine judgments about how it should be played. and it matters. it matters what expression is on mary mcdonnell's face when she looks after that train. i won't be able to change it once i commit to it. and i may be wrong on the day at union station for what i need 2 months later in the cutting room. and that is the part that sort of energizes you. that's what makes movies different from theatre where you can go back the next night and change it. and there's something about that heightened reality that is what makes movies the excitement that they are and why movies are different from everything else. and why people pour out to see what came out of that. there's some added juice that comes from that process. go back to the beginning. i'm the audience in a sense. i'm the audience. and i sit there and i react to the performances as