The rap on actors as first-time directors is that they’re often more interested in exploring characters—and indulging cast members—than they are in telling straightforward stories. Think of slow-paced character studies like Sean Penn’s THE INDIAN RUNNER or Gary Oldman’s NIL BY MOUTH. Even Tommy Lee Jones’ modern Western THE THREE BURIALS OF MELQUIADES ESTRADA and veteran auteur Robert Redford’s wartime drama LIONS FOR LAMBS (both of which I’ve recently written about) favor long scenes of motivation-revealing dialogue over peppy, narrative-advancing plotting.
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