"Then they started pulling me in and I was very resistant. All the other actors would be saying write more, more dialogue for me, and I'd always be saying 'No, less, less'"
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There is a quiet flex in Berg admitting he fought for less. In an industry where actors are trained to treat words like oxygen - screen time as proof of worth - his instinct is subtraction, not accumulation. The line reads like a small behind-the-scenes anecdote, but it sketches a whole philosophy of power: you do not win a scene by talking more; you win it by making the audience lean in.
The subtext is resistance to the actorly reflex to perform. "Pulling me in" suggests the gravitational force of a production machine that rewards visibility, while his "No, less" positions him as someone suspicious of that bargain. It also hints at a different kind of ambition: to be credible, not just noticeable. Minimal dialogue can be a strategy of realism (people rarely deliver perfect monologues) and a strategy of mystique (silence makes room for ambiguity, and ambiguity reads as depth).
Context matters because Berg sits at a crossroads: actor, but also a figure who would later become a director known for muscular, lived-in storytelling. This preference for restraint sounds like an early tell of that sensibility. It's also a subtle commentary on collaboration. He isn't rejecting writing; he's negotiating it, pushing the script toward behavior over exposition. In a culture that confuses volume with importance, Berg's "less, less" is a reminder that presence can be louder than dialogue, and that control sometimes looks like refusing the extra lines everyone else is begging for.
The subtext is resistance to the actorly reflex to perform. "Pulling me in" suggests the gravitational force of a production machine that rewards visibility, while his "No, less" positions him as someone suspicious of that bargain. It also hints at a different kind of ambition: to be credible, not just noticeable. Minimal dialogue can be a strategy of realism (people rarely deliver perfect monologues) and a strategy of mystique (silence makes room for ambiguity, and ambiguity reads as depth).
Context matters because Berg sits at a crossroads: actor, but also a figure who would later become a director known for muscular, lived-in storytelling. This preference for restraint sounds like an early tell of that sensibility. It's also a subtle commentary on collaboration. He isn't rejecting writing; he's negotiating it, pushing the script toward behavior over exposition. In a culture that confuses volume with importance, Berg's "less, less" is a reminder that presence can be louder than dialogue, and that control sometimes looks like refusing the extra lines everyone else is begging for.
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| Source | Help us find the source |
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