"I worked with Marlon Brando on 'The Fugitive Kind'. He's a suspicious fellow. I don't know if he bothers anymore, but Brando tests the director on the first or second day of shooting. What he does is to give you two apparently identical takes. Except that on one, he is really working from the inside; and on the other, he's just giving an indication of what the emotion was like. Then he watches which one you decide to print. If the director prints the wrong one, the 'indicated' one, he's had it. Marlon will either walk through the rest of the performance or make the director's life hell, or both. Nobody has the right to test people like that, but I can understand why he does that. He doesn't want to pour out his inner lifer to someone who can't see what he's doing".

(Making Movies, Vintage, 1995, Sidney Lumet)