Yet another shot finds five men backing carefully down a narrow hallway: the cameraman, the focus‐puller, the sound man, the sound‐cable holder and the director. “I wouldn't mind doing that again,” he says. Kagan calls fur a print, but Dreyfuss is not convinced. Finally he selects a combination of walks, pauses and spins for the camera - and now, for the take, his face is working again.
He tries several different walks he tries a fast spin, a slow spin, a broken spin he tries pauses of various duration. “I need an expression that says, ‘Where the hell is she?’ “ says Jeremy Paul Kagan, director of Dreyfuss's upcoming film, “The Big Fix.” “Use your body.” Alone in the room, Dreyfuss walks through five different versions of the move, his face distant and preoccupied. It's like telling a carpenter, ‘Gee, you drove that nail right into the hole.’ “Īnother scene calls for Dreyfuss to walk into a bedroom looking for his wife. “That's the easiest thing for an actor to do. “Of course the reading doesn't change,” he says. Richard Dreyfuss has done this scene 14 times already, and from take one through take 19 his reading has been virtually identical - same inflections, same rhythms, same curve of rising intensity.
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