told Robert Emmett Ginna: "I think you have to view the entire problem of putting the story you want to tell up there on that light square. It begins with the selection of the property; it continues through the creation of the story, the sets, the costumes, the photography and the acting. And when the picture is shot, it's only partially finished. I think the cutting is just a continuation of directing a movie. I think the use of music effects, opticals and finally main titles are all part of telling the story. And I think the fragmentation of these jobs, by different people, is a very bad thing". Kubrick also said: "I think that the best plot is no apparent plot. I like a slow start, the start that gets under the audience's skin and involves them so that they can appreciate grace notes and soft tones and don't have to be pounded over the head with plot points and suspense tools." Directing Kubrick was notorious for demanding multiple takes during filming to perfect his art, and his relentless approach was often extremely demanding for his actors. Jack Nicholson remarked that Kubrick would often demand up to fifty takes of a scene. Nicole Kidman explains that the large number of takes he often required stopped actors from consciously thinking about technique, thereby helping them enter a "deeper place". Kubrick's high take ratio was considered by some critics as "irrational"; he firmly believed that actors were at their best during the filming, as opposed to rehearsals, due to the sense of intense excitement that it generates. Kubrick explained: "Actors are essentially emotion-producing instruments, and some are always tuned and ready while others will reach a fantastic pitch on one take and never equal it again, no matter how hard they try" ... "When you make a movie, it takes a few days just to get used to the crew, because it is like getting undressed in front of fifty people. Once you're accustomed to them, the presence of even one other person on set is discordant and tends to produce self-consciousness in the actors, and certainly in itself". He also told biographer Michel Ciment: "It's invariably because the actors don't know their lines, or don't know them well enough. An actor can only do one thing at a time, and when he learned his lines only well enough to say