Acting is a very strange profession. Unlike so many other jobs in the entertainment industry, it is a profession that has always been and will always be vague and alive, without any person doing the same way. That quality, of course, is what maintains fascinating and infinitely fun; When we enjoy an actor, we enjoy combining their skill and their natural charisma and personality, as well as the way they communicate and respond to other people, creating chemistry without an accurate formula. The different methods that the actors use to create performance can look incompatible on paper, and indeed, one of the director's tasks is to find ways to mix the cast together so that the film can be completed. Try as they can, sometimes problematic culturation where two actors simply cannot find a way to communicate and cooperate.

The largest key element to overcome this obstacle includes actors who have two features of common in common: respect and confidence. They do not have to use the same methods of performance, but if they have respect and confidence for one another, then there will simply be no problem. Take, for example, "Nothing Exit" of 1987, brilliantly deceived and tense neo-nor directed by Roger Donaldson. Most of the film refers to a cat and a mouse back and back between a young Navy officer, Tom Farrell and Defense Secretary David Bris, two roles tailored to the newborn actor and veteran Starvers, respectively. Donaldson threw a young Kevin Costner into the role of Tom, just as Costner began to appear from important parts in leading roles (the same year, he played the lead in the "untouchable"). In the role of David, he threw Ein Hackman, a well -established power plant that did not suffer fools. In the middle of the unfortunate recent passage of Hackman, an interview with Costner appeared a few years ago in which he praised Hackman as the best actor he once worked with. The reason why there are everything with the two men who have mutual respect and confidence for each other, with their meeting enriches both with a reminder of how special they can be.

As I mentioned earlier, while "no exit", Costner's career was in a delicate position. He appeared in small, supportive roles during the early 1980s, and until 1985 he did not win some local films such as "Fandango", "Silverdo" and "American flyers". The catch in both the "untouchable" and "no exit" of those performances and the building around him like the new Starwar, Costner inherently knew that these leading roles were moments of making or breaking for his future in business. While The "untouchable" were a little more than the direct guidance of the heavy man"Not a single exit" presented some awkward challenges, as actors and Donaldson were supposed to work in combination to keep the film that was swaying and excited, while never revealing all their cards to the last stage of the film.

It is probably this knowledge and tension created by making Costner lowering his leg when it comes to blocking certain scenes. Costner, who will continue to become the award -winning director only a few years later in 1990 with "Dances with Wolves", There was an instinct that he and Hackman played too many scenes around the David Brice Bureau. As the actor recalled during Interview in 2017 on the show "Rich Eisen", he eventually decided to challenge Donaldson's election:

"When this scene appeared, we did every scene to that moment around the Bureau, just like this. Every scene. I finally told the director, "Look, I don't feel like that." Genin Hackman stands there, listening. And it was like, the director and I really climbed it. Genin is just like, listening. And finally, for whatever reason, I said, "I don't care, here it is." And I hated to do it, but I just said, "It's here. And I don't need all our scenes (the desk), here it is. 'That's how we did. "

After Costner persuaded Donaldson to block the whole scene (which will require a new setup for the cameras, the rest of the crew and so on), the question arose whether this change would be fine for Hackman, who did not say anything. Costner, still in a roll, assumption, but flattered with any problems in the name of Hackman, as he remembered:

"At one point, it was like, 'Well, what would the gene do?' And I said, 'Genin will understand what to do.

After all those discussions and arguments were resolved, the cast and the "Nothing Exit" crew continued to record the path on stage, and apparently the new concept worked well enough that, as Costner pointed out, "it's the stage now in the movie." However, although the work of the day ended and everyone seemed to be happy with it, now the less heated Costner was worried that he would overdo it, especially to Hackman and his reputation. As he remembered, his meeting with Hackman at the end of that day was surprisingly moving:

"While I was going to my car, very mgm, ein entered (his car) and he goes:" Hey (gestures), I want to talk to you. " And I went, and he goes, man, if you ever do it before me, I'm just not dealing, I'll just break you up - that's not what I said. I used to feel acting. And then he just got into his car and drove. "

It is this meeting that made Costner promote Hackman the best actor he once worked with, and it is easy to see why. Costner advocated respect for the material and his performance, he believed Hackman to be able to follow his lead, and all this incident led the two and the rest of the cast and crew of the film to make a successful, quality film. While Hackman may have been self -critical in his comments to Costner that day, The breadth of his filmography proves that he always cared for his craft more often than not. It is the mentality that ultimately led to his retirement in 2004, a choice that man never returned. While both Hackman and Costner delivered numerous appearances on the screen with incredible depth and beliefs, it is not the quality of their work that made each other admire each other as much as their character's quality. Hackman and Costner are really two of the best actors who have ever lived, and as we say nice goodbye to the formerWe are blessed by being the latter we are still here, Where are you still fighting for his art.