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Mandylor landed a leading role in Mobsters playing Mafia boss Frank Costello.He went mentally prepared for the role, telling the Los Angeles Times, "It was interesting that I got that part, because I felt tuned in to gangsters, it was a genre I'd read a lot.In the wintertime, when we go to Toronto, is when the script comes together. He gets into a little bit of trouble and thinks he loses his way, which makes it a little bit exciting. I’m sure that Darren Bousman had a hand in creating those rhythms, but Kevin has had his hands on the wheel since the first film.He knows the rhythms of these films, he knows the way the music works and he knows what the potential is, in the editing room.I think some of the best directors have come from editing, from Alan Parker, all the way to Scorsese, who did a lot of editing in his formative years.
He returned to Los Angeles meeting director Oliver Stone and auditioned and got the role of an Italian count in The Doors (1991).Bell: It’s pretty amazing, given that when we started, we didn’t know any of this was gonna happen. Is it like returning to a family in Toronto, every year? It also solves a lot of problems because of the continuity.People know where we’ve come from and what we were doing in that time frame.Bell: That’s where all these technicians and department heads come in. It’s not gonna cut together.” John Kramer has four different looks, so they’ll be like, “Your hair has got to be whiter.We’ll be just about to shoot something and someone will come running in and say, “No, your hand wasn’t there. We used more of that powder, so we’ve gotta fix that.” The continuity people and the script supervisors are essential because you can really fuck up and you won’t know until they start to cut it together and find out that it doesn’t work at all, and somebody missed it.
Bell: So, when you jump around, as much as these films do, it’s great to have people who have been there and can back you up, not that they hold actors responsible for that.