I don’t prefer to work with one actor rather than another, I don’t have a troupe like Bergman has in Sweden. I'm interested mainly in the story, and I cast to realise that story. I don’t know who I shall use in my next picture, which will be made in Greece, but it will probably be somebody brand new again, only because it's more real to me that way. An actor is a person who quickly becomes “an actor," whereas there's a simplicity and unselfconsciousness and mystery about a new actor that an experienced actor often loses quickly. A person when he feels something in life would prefer to hide it, whereas an actor is in the habit of showing it. I’m not saying this is a general rule for other directors or that it is right for anyone but me, but it fits my own temperament and my own feelings about a film.
A star undercuts a story in some ways; you know he’s not going to die in the second reel or going to do anything unpleasant and that he'll get the girl in the end, and if he doesn’t come out well, the audience is disappointed because they've gone to the cinema to see him. I don't want an audience to come to see a star. I want them to see my story.
Very often recognised actors in a very subtle way condescend to a part; they clean it up, and make it more pleasant, glamorous, brave, courageous or resourceful than it is. There's nothing more boring than the bravery of an actor, and when you get a person that's new, he’s not on the lookout to always be brave or be cleaned up.
I can't stand a hairdresser on the set, and I try not to have one. But if the unions force one on me, I tell her to go in a room and play solitaire or something. If I see one fussing with the leading lady’s hair, I have a fit the first day, and then they don’t come round again. I mean I like them personally, but I don't want the hair in place. One objection I have to most costumes is that they obviously look like they were made for the film and have never been worn or used before. It's a very hard thing to fight unless you’re terribly determined and persistent; everybody's trying to clean everything up on you.
The set is full of many charming and very friendly enemies, people who are in the habit of making things pretty and more comfortable. This is the whole technique of Hollywood, to make everything more digestible. My whole effort is to bring the impact of life to the screen, so you don't ever know quite what’s going to happen.