Never give all the heart, for loveWill hardly seem worth thinking ofTo passionate women if it seemCertain, and they never dreamThat it fades out from kiss to kiss;For everything that's lovely isBut a brief, dreamy, kind delight.O Never give the heart outright,For they, for all smooth lips can say,Have given their hearts up to the play.And who could play it well enoughIf deaf and dumb and blind with love?He that made this knows all the cost,For he gave all his heart and lost.
All the world's a stage,And all the men and women merely players;They have their exits and their entrances,And one man in his time plays many parts,His acts being seven ages. At first, the infant,Mewling and puking in the nurse's arms.Then the whining schoolboy, with his satchelAnd shining morning face, creeping like snailUnwillingly to school. And then the lover,Sighing like furnace, with a woeful balladMade to his mistress' eyebrow. Then a soldier,Full of strange oaths and bearded like the pard,Jealous in honor, sudden and quick in quarrel,Seeking the bubble reputationEven in the cannon's mouth. And then the justice,In fair round belly with good capon lined,With eyes severe and beard of formal cut,Full of wise saws and modern instances;And so he plays his part. The sixth age shiftsInto the lean and slippered pantaloon,With spectacles on nose and pouch on side;His youthful hose, well saved, a world too wideFor his shrunk shank, and his big manly voice,Turning again toward childish treble, pipesAnd whistles in his sound. Last scene of all,That ends this strange eventful history,Is second childishness and mere oblivion,Sans teeth, sans eyes, sans taste, sans everything.
If you were born with the ability to change someone’s perspective or emotions, never waste that gift. It is one of the most powerful gifts God can give—the ability to influence.
Actors in any capacity, artists of any stripe, are inspired by their curiosity, by their desire to explore all quarters of life, in light and in dark, and reflect what they find in their work. Artists instinctively want to reflect humanity, their own and each other's, in all its intermittent virtue and vitality, frailty and fallibility.
Use filmmaking to eliminate racism – use to it terminate misogyny – use it to destroy homophobia and all other primitiveness.
The art of filmmaking is the most influential form of art that has ever existed throughout the history of human artistic endeavors.
Filmmaking has the power to fortify the feeble, unify the divided, raise the abandoned and inspire the ignorant.
A movie is not a movie, it is a potential nuclear furnace of inspiration, courage and conscience.
Make movies my friend – make nice, inspiring and bold movies that will penetrate the darkest corners of the human mind and illuminate the soul.
Give people films, they will forget after a few weeks, but give people ideas, they will assimilate them into their consciousness.
Make films that purify the soul with the flow of rational, vigorous and compassionate thinking.
Use filmmaking for a greater purpose, than to just entertain some drowsy minds. Wake the whole world up with your movies. It has been sleeping for long. Its eternal sleep has become its darkest nemesis. Now is the time to wake it up.
Take the clapper and become the alarm that the world so desperately needs.
Whatever genre you deem suitable for your taste – romance, comedy, action, mystery, sci-fi or anything else, make sure it has the plain everyday human kindness.
Plants are more courageous than almost all human beings: an orange tree would rather die than produce lemons, whereas instead of dying the average person would rather be someone they are not.
By drinking, a boy acts like a man. After drinking, many a man acts like a boy.
If thinking should precede acting, then acting must succeed thinking.
... so this is for us.This is for us who sing, write, dance, act, study, run and loveand this is for doing it even if no one will ever knowbecause the beauty is in the act of doing it.Not what it can lead to.This is for the times I lose myself while writing, singing, playingand no one is around and they will never knowbut I will forever rememberand that shines brighter than any praise or fame or glory I will ever have,and this is for you who write or play or read or singby yourself with the light off and door closedwhen the world is asleep and the stars are alignedand maybe no one will ever hear itor read your wordsor know your thoughtsbut it doesn’t make it less glorious.It makes it ethereal. Mysterious.Infinite.For it belongs to you and whatever God or spirit you believe inand only you can decide how much it meantand meansand will forever meanand other people will experience it toothrough you.Through your spirit. Through the way you talk.Through the way you walk and love and laugh and careand I never meant to write this longbut what I want to say is:Don’t try to present your art by making other people read or hear or see or touch it; make them feel it. Wear your art like your heart on your sleeve and keep it alive by making people feel a little better. Feel a little lighter. Create art in order for yourself to become yourselfand let your very existence be your song, your poem, your story.Let your very identity be your book.Let the way people say your name sound like the sweetest melody.So go create. Take photographs in the wood, run alone in the rain and sing your heart out high up on a mountainwhere no one will ever hearand your very existence will be the most hypnotising scar.Make your life be your artand you will never be forgotten.
The words of his various writing instructors and professional mentors over the years came back to him at times like these, and he found a new understanding in their advice: Writing is rewriting. The rough draft is just that. You can’t polish what you haven’t written. Things that made for a normal life—like a daily routine that followed the sun—took a back seat to times like these, and he exulted in that change because it served as proof that his writing was indeed the most important thing in his life. It wasn’t a conscious choice on his part, like deciding to repaint the bathroom or go buy the groceries, but an overarching reallocation of his existence that was as undeniable as breathing. Day turned into night, breakfast turned into dinner, and the laptop or the writing tablet beckoned even when he was asleep. He would often awake with a new idea—as if he’d merely been on a break and not unconscious—and he would see the empty seat before the desk not as his station in some pointless assembly line, but as the pilot’s seat in a ship that could go anywhere.
Success involves failing first. Ask any successful person. Ask any experienced person, really. It's all part of the creative process, so sit back and allow the artist within you to sprout, blossom and flourish. You must accept that your first, second, and third attempt at something might suck. It's a necessary step in improving your skill. Failure is your teacher, not your judge.
Theatres are curious places, magician's trick-boxes where the golden memories of dramtic triumphs linger like nostalgic ghosts, and where the unexplainable, the fantastic, the tragic, the comic and the absurd are routine occurences on and off the stage. Murders, mayhem, politcal intrigue, lucrative business, secret assignations, and of course, dinner.
Do not recite words just to prove to yourself and others that you know and love God; for he already put his breath and light inside you. Instead, put truth in your every word and action, and always let your conscience steer and guide you.
You face an audience and prepare to speak. Fear will be there, if you're alive. There is, of course, no shortage of feeling up there. It is an extreme act, unusual, testing you in unparalleled ways. It speaks to the core of who you are, and why you do what you do. These challenges, they exist in life and become acute on stage.
I’ve never liked the term ‘actor’.” Barron spoke slowly, joining hands with the cast members to his left and right. The rest of them formed a circle, also holding hands, and he continued. “Seriously now, is anyone here ‘acting’? Is anyone here pretending? “Me, I’m a theater director. One hundred percent, all the time. I’m not pretending, or acting, or trying to fool anyone. This is what I do, and I give it my all—just like you. I look around me, and I don’t see a single phony. I see people who give their hearts, their minds, and their very lives to being serious performers on the stage. In the last weeks I’ve watched every one of you give up the easy life to come here and bust a gut to make this show a reality. “That’s why I call you performers. Not actors—performers. Because when it’s time to prepare, you work out every nuance of a role. When it’s time to step in front of the crowd, you reach out and pull them in with both hands. When it’s time to say your lines, you deliver them with skill and meaning. That’s performance. And there’s nothing phony about that. There’s nothing pretend about that. There’s no acting that will take the place of that. “And so that’s my wish for you tonight: Have a great performance. You’ve done the work, you’re ready, and now it’s time to show off. Have fun out there, gang. Perform.” --Jerome Barron's opening night pep talk to the cast of Death Troupe
Even the world’s greatest actor cannot fake an erection.
Some disabled people spend a significant amount of their energy on trying to come across as abled or as not that disabled.
Fresh from a costume fitting, where I had been posing in front of the mirror assuming what I thought was a strong position - arms folded, butch-looking...you know - I met with the woman in charge of Holloway police station. She gave me the most invaluable advice: never let them see you cry, and never cross your arms. When I asked why, she said 'because it is a defensive action and therefore weak.
She looked exactly like an angel. I know my jaw dropped a little, and I just stood there looking at her for what seemed like a long time, shocked into silence, until I suddenly remembered that I had a line I had to deliver. I took a deep breath, then slowly let it out. "You're beautiful," I finally said to her, and I think everyone in the whole auditorium, from the blue-haired ladies in the front to my friends in the back row, knew that I actually meant it. I'd nailed that line for the very first time.
Art doesn’t give rise to anything in us that isn’t already there. It simply stirs our curious consciousness and sparks a fire that illuminates who we have always wanted to be.
In musical performances one can sense that the person on stage is having a good time even if they're singing a song about breaking up or being in a bad way. For an actor this would be anathema, it would destroy the illusion, but with singing one can have it both ways. As a singer, you can be transparent and reveal yourself on stage, in that moment, and at the same time be the person whose story is being told in the song. Not too many kinds of performance allow that.
Spencer Tracy, when asked for advice on acting, said, “Know your lines and don’t bump into the furniture.” James Cagney said, “Walk in, plant your feet, look the other fellow in the eye and…tell the truth.” With all due respect to both of these giant talents, I would have to say there’s something more. The true creation of a being, a character other than one’s self, for me is comparable to a mystical or spiritual experience. To stand in another person’s shoes. To see as he sees, to hear as he hears. To know what he knows, and to do all this with a sense of control, a mastering of the dramatic moment, there must be more than a “natural talent” at work.
His intuition was luminous from the instant you met him. So was his intelligence. A lot of actors act intelligent, but Philip was the real thing: a shining, artistic polymath with an intelligence that came at you like a pair of headlights and enveloped you from the moment he grabbed your hand, put a huge arm round your neck and shoved a cheek against yours; or if the mood took him, hugged you to him like a big, pudgy schoolboy, then stood and beamed at you while he took stock of the effect. (About Philip Seymour Hoffman)
And this notion of the meaninglessness of our lives here began to enflame us.I took up the theme again that music and acting were good because they drove back chaos. Chaos was the meaninglessness of day-to-day life, and if we were to die now, our lives would have been nothing but meaninglessness.
Literature, although it stands apart by reason of the great destiny and general use of its medium in the affairs of men, is yet an art like other arts. Of these we may distinguish two great classes: those arts, like sculpture, painting, acting, which are representative, or as used to be said very clumsily, imitative; and those, like architecture, music, and the dance, which are self-sufficient, and merely presentative.
He completely lacked any ardent interest that might have occupied his mind. His interior life was impoverished, had undergone a deterioration so severe that it was like the almost constant burden of some vague grief. And bound up with it all was an implacable sense of personal duty and the grim determination to present himself at his best, to conceal his frailties by any means possible, and to keep up appearances. It had all contributed to making his existence what it was: artificial, self-conscious, and forced—until every word, every gesture, the slightest deed in the presence of others had become a taxing and grueling part in a play.
I have done this—made the sad prince laugh. Made his grieving parents smile. None but me. Think you only kings have power? Stand on a stage and hold the hearts of men in your hands. Make them laugh with a gesture, cry with a word. Make them love you. And you will know what power is.
A moment of truth is very powerful. Instead of smiling to be polite, just frown. Instead of laughing when you are nervous or uncomfortable, just speak your truth. Instead of acting like everything is all right, proclaim it isn't alright, and talk about your feelings! Honor your truth. Honor yourself. Be real.
It was said that the world is a stage, and if that's true… the show must go on no matter what happens. With that being true, we're all actors playing our parts… and what is acting in its core, but reacting… perceiving and reacting to what's been served?
At cocktail parties, I played the part of a successful businessman's wife to perfection. I smiled, I made polite chit-chat, and I dressed the part. Denial and rationalization were two of my most effective tools in working my way through our social obligations. I believed that playing the roles of wife and mother were the least I could do to help support Tom's career.During the day, I was a puzzle with innumerable pieces. One piece made my family a nourishing breakfast. Another piece ferried the kids to school and to soccer practice. A third piece managed to trip to the grocery store. There was also a piece that wanted to sleep for eighteen hours a day and the piece that woke up shaking from yet another nightmare. And there was the piece that attended business functions and actually fooled people into thinking I might have something constructive to offer.I was a circus performer traversing the tightwire, and I could fall off into a vortex devoid of reality at any moment. There was, and had been for a very long time, an intense sense of despair. A self-deprecating voice inside told me I had no chance of getting better. I lived in an emotional black hole.p20-21, talking about dissociative identity disorder (formerly multiple personality disorder).
I was playing Rasputin and what was motivating him was crumpet really, and I was extremely keen on crumpet so I was really rather good as Rasputin. And my next catastrophic failure was Macbeth, who I played in the style of a crumpet-lover, and then when Doctor Who came along, I embraced this lunacy, this cloud-cuckoo-land where people had to be convinced by absolute nonsense. I came from a very religious background, so it was easy for me to believe in something I knew nothing about.
When truth and virtue are so rare in almost every area of our society the world needs theatre and the theatre needs actors who will bring the truth of the human soul to the stage. The theatre may now be the only place in society where people can go to hear the truth.
I always am in a role, lovely – for you, for them – even for myself. Yeah... Even when I’m alone, I am still in a role – and I myself am the most exacting audience I have ever had.
Even I don’t know myself... In fact, I don’t know if I really have a self at all, as I’m constantly playing different roles and pretending – not so much on stage as in real life...
Emotions don’t interfere in my acting, nor in my life.
Don’t try to present your art by making other people read or hear or see or touch it; make them feel it. Wear your art like your heart on your sleeve and keep it alive by making people feel a little better. Feel a little lighter. Create art in order for yourself to become yourselfand let your very existence be your song, your poem, your story.Let your very identity be your book.Let the way people say your name sound like the sweetest melody.
On the great canvas of timeWe all create our own masterpiece.Choreographing our steps across minutes and hoursDancing over the daysPainting pictures over months andWriting our stories on the years.Singing our songs that echo across eons.We are all a thread in the talent tapestry.A snapshot in the cosmic, collective collage.
My basic profession is as an actor, and I have learnt much about life through working as an actor. Working as an actor is really a spiritual profession, since it means to create life on the stage. It means to play a role totally, while at the same time you know deep down inside yourself that you are not the role that you are playing. Working as an actor gave me early a spiritual discipline, which taught me a lot about awareness and meditation. Life is also about learning to play different roles, and learning to change between different roles with the same easiness that you change shirt.
Grief and rage--you need to contain that, to put a frame around it, where it can play itself out without you or your kin having to die. There is a theory that watching unbearable stories about other people lost in grief and rage is good for you--may cleanse you of your darkness. Do you want to go down to the pits of yourself all alone? Not much. What if an actor could do it for you? Isn't that why they are called actors? They act for you. You sacrifice them to action. And this sacrifice is a mode of deepest intimacy of you with your own life. Within it you watch [yourself] act out the present or possible organization of your nature. You can be aware of your own awareness of this nature as you never are at the moment of experience. The actor, by reiterating you, sacrifices a moment of his own life in order to give you a story of yours.
Do you think that the people on reality T.V. shows are kind of good actors? I mean they would have to be! You can't ignore all the cameras and, you know, the whole situation of being on a reality show... But here is what I'm wondering. Do you think that they think of themselves as actors? Or do you think that they are living their lives behind an impenetrable shield? Like their entire approach to life is the same as an actor's approach to a performance? So when they had to act natural in an unnatural situation it was sort of no big deal.
I wish to Heaven I was married," she said resentfully as she attacked the yams with loathing. "I'm tired of everlastingly being unnatural and never doing anything I want to do. I'm tired of acting like I don't eat more than a bird, and walking when I want to run and saying I feel faint after a waltz, when I could dance for two days and never get tired. I'm tired of saying, 'How wonderful you are!' to fool men who haven't got one-half the sense I've got, and I'm tired of pretending I don't know anything, so men can tell me things and feel important while they're doing it... I can't eat another bite.
If it must be enjoyed, then it must be done. And if it must be done, then it must be done well. If it is done well, it is enjoyed well.
People with dissociative disorders are like actors trapped in a variety of roles. They have difficulty integrating their memories, their sense of identity and aspects of their consciousness into a continuous whole. They find many parts of their experience alien, as if belonging to someone else. They cannot remember or make sense of parts of their past.
On those nights, the words were for me alone. They came up unbidden from my heart. They spilled over my tongue and spilled out my mouth. And because of them, I, who was nothing and nobody, was a prince of Denmark, a maid of Verona, a queen of Egypt. I was a sour misanthrope, a beetling hypocrite, a conjurer's daughter, a mad and murderous king.
You have to understand your best. Your best isn't Barrymore's best or Olivier's best or my best, but your own. Every person has his norm. And in that norm every person is a star. Olivier could stand on his head and still not be you. Only you can be you. What a privilege! Nobody can reach what you can if you do it. So do it. We need your best, your voice, your body. We don't need for you to imitate anybody, because that would be second best. And second best is no better than your worst.
Life is like theatre. Each new day is a new scene with new acts and roles to portray. The sets always change. You come across new dialogue and lines to exchange between others. Scripts are improvised. But the beauty in it is that everyday, you are constantly learning who you are and how others around you are. Express yourself and empathize. It's okay to wear a mask every now and then but remember that you'll eventually meet fellow thespians who will find a way to break down your walls and barriers. Remember another thing: this isn't a dress rehearsal. And God is your ultimate Director. Let Him write your script and call the cuts. Allow Him to provide you with the applause that truly matters. Let Him open up your heart to real self discovery. He is the best playwright that never dies. He lives. And so do you when you learn to let go and step on the stage of life.
I said, "I don't think I can give you that kind of emotion." And he [Hitchcock] sat there and said, "Ingrid, fake it!" Well, that was the best advice I've had in my whole life, because in all the years to come there were many directors who gave me what I thought were quite impossible instructions and many difficult things to do, and just when I was on the verge of starting to argue with them, I heard his voice coming to me through the air saying, "Ingrid, fake it!" It saved a lot of unpleasant situations and waste of time.
The biggest spur to my interest in art came when I played van Gogh in the biographical film Lust For Life. The role affected me deeply. I was haunted by this talented genius who took his own life, thinking he was a failure. How terrible to paint pictures and feel that no one wants them. How awful it would be to write music that no one wants to hear. Books that no one wants to read. And how would you like to be an actor with no part to play, and no audience to watch you. Poor Vincent—he wrestled with his soul in the wheat field of Auvers-sur-Oise, stacks of his unsold paintings collecting dust in his brother's house. It was all too much for him, and he pulled the trigger and ended it all. My heart ached for van Gogh the afternoon that I played that scene. As I write this, I look up at a poster of his "Irises"—a poster from the Getty Museum. It's a beautiful piece of art with one white iris sticking up among a field of blue ones. They paid a fortune for it, reportedly $53 million. And poor Vincent, in his lifetime, sold only one painting for 400 francs or $80 dollars today. This is what stimulated my interest in buying works of art from living artists. I want them to know while they are alive that I enjoy their paintings hanging on my walls, or their sculptures decorating my garden
But if I hope to understand in order to accept things - the act of surrender will never happen. I must take the plunge all at once, a plunge that includes comprehension and especially incomprehension. And who am I to dare to think? What I have to do is surrender. How is it done? I know however that only by walking do you know how to walk and - miracle - find yourself walking.
Acting on our interests refines our understanding of what we are good at and what we value. The experiences we have along the way sometimes introduce us to new values that enhance and enlarge our vision. The lessons we learn through habits of action test our understanding and teach us to identify what matters in our life.
DENIAL OF EMOTIONSOur culture does not handle emotions well. We like folks to be happy and fine. We learn rituals of acting happy and fine at an early age. I can remember many times telling people "I'm fine" when I felt like the world was caving in on me. I often think of Senator Muskie who cried on the campaign trail when running for president. From that moment on he was history. We don't want a president who has emotions. We would rather have one that can act! Emotions are certainly not acceptable in the workplace. True expression of any emotions that are not "positive" are met with disdain.
And what does he feel?""He feels uneasy. A little afaid. Angry. Oddly, a hint of pride.""Good," Henry said. "ANd where are you?""Backstage."Henry shook his head gravely. "THere's no such thing as backstage. The play begins, and there's only the world it dramatizes. Now, where are you?""With my father, the president. In his chambers.""Right. With me. Your father. And now--this is important--do you love me?"Nelson considered this; or rather, Nelson, as Alejo, considered this."Yes," he said after a moment. "I do.""Good. Remember that. In every scene--even when you hate me, you also love me. That's why it hurts. Got it?"Nelson said that he did."Are you sure?""Yes.""Good. Because it does hurt," Henry said. "DOn't forget that. It's supposed to. Always.
A Film has the potential to kindle such a spark of inspiration in an individual that it can alter the course of human progress.
Entertain, but also, give the viewer something to think about.
Healthy entertainment does not evoke raw emotions in the mind of a viewer only to make them wreak havoc, rather it guides those emotions in a healthy direction.
Healthy entertainment is a beautiful blend of stimuli that can connect with the viewer at a sentimental level, then sow the seeds of a certain idea or feed the mind with inspiration and courage. In short, healthy entertainment does not evoke raw emotions in the mind of a viewer only to make them wreak havoc, rather it guides those emotions in a healthy direction. This leads to not only an entertained viewer, but also an inspired soul. And that should be the purpose of film-making, and indeed the entire entertainment industry, rather than feeding the general population with garbage.
...if the actor gave his performance without knowing that he was in a play, then his tears would be real tears and his life a real life. And whenever I think of this pain and joy that rise up in me, I am carried away by the knowledge that the game I am playing is the most serious and exciting there is.
I've been very lucky at what's happened in my career to date, but playing something as far from me as possible is an ambition of mine - anything from a mutated baddy in a comic book action thriller, to a detective. If anything, I'd like Gary Oldman's career: he's the perfect example of it. I've love to have a really broad sweep of characters - to be able to do something edgy, surprising and unfashionable.
You are the actor. Your body brings in something, call it presence, and it happens by degrees. Arms, chest, haunches and thighs, calves and feet. The body, firing synapses, in between and in the gray matter. On and off. The billions of cells, the body mechanisms, the busy regulating, the adjusting, the retinas contracting and expanding, body secreting, beating, moving, breathing and pulsing. Your being registers here. Swallow. Inhale. Open mouth to press air out to touch the flesh in the throat to make sound. You are the actor. A thing of flesh and feeling. Perfect because you aren't.
I knew exactly when the fever had struck. I had been reading Hamlet in an English class at school. Everyone else stumbled, puzzling over the strange words. Then it had been my turn, and the language had suddenly woken in me, so that my heart and lungs and tongue and throat were on fire. Later, I understood that this was why people spoke of Shakespeare as a god. At the time, I felt like weeping. Somebody had released me from dumbness, from utter isolation. I knew that I could live inside these words, that they would give me a a shape, a shell. I had no idea, then, that I would never play Hamlet…. I’m an actor, and in a good year I earn eleven thousand pounds for dressing up as a carrot.
When most dullards hear the words 'the theater,' they envision a twelve-screen multiplex where disaster porn entertains the culturally witless for 90 minutes at a time. Pfaugh. The word 'theater' has grandeur. Power. Back to its ancient Grecian origins, it means 'the seeing place.' A stage upon which actors and actresses use fiction to show us truths.
It was a relief to inhabit someone else's life for a while, to get her personal issues for a brief respite. In a play, she knew exactly how all her character's problems would be resolved. No matter how the cast performed, the end turned out the same. No questions, no worries, no unknowns.
I see an actress smoking a cigarette in an old Fred McMurray movie. She’s clever and beautiful and manipulative. I feel envy. I suddenly wish I smoked cigarettes and was as clever and beautiful and manipulative as she. I want to be that way at the restaurants I visit, as I’m walking to my car, with certain friends who might understand. The actress has played her part well; she’s made me want to emulate her base desires if only for a while. Does that make me impressionable, a fool, or someone who will recognize the deepest secrets of her heart?I fight hard to stay young—to keep the lines from further etching my face and hands and breasts, presumably to trick the world into believing I am young. I’m an actress playing a part. I’m afraid to tell the truth. I fear losing those younger or becoming those older. In the presence of youth, a sort of unseen age-osmosis occurs within me. The years drop away and I don’t want to leave. It’s utterly selfish but I don’t care. After all, I’m no older than they—I’ve just been so longer. I was nineteen only yesterday and they don’t retire nineteen-year-old actresses.
MOST PEOPLE think acting is make-believe. Like it’s a big game where people put on costumes and feign kisses or stab wounds and then pretend to gasp and die. They think it’s a show. They don’t understand that acting is becoming someone else, changing your thoughts and needs until you don’t remember your own anymore. You let the other person invade everything you are and then you turn yourself inside out, spilling their identity onto the stage like a kind of bloodletting.
Her friend - and her partner on the stage. You will not believe me, but making love to Kitty - a thing done in passion, but always, too, in shadow and silence, and with an ear half-cocked for the sound of footsteps on the stairs - making love to Kitty and posing at her side in a shaft of limelight, before a thousand pairs of eyes, to a script I knew by heart, in an attitude I had laboured for hours to perfect - these things were not so very different. A double act is always twice the act that the audience thinks it; beyond our songs, our steps, our bits of business with coins and canes and flowers, there was a private language, in which we held an endless, delicate exchange of which the crowd knew nothing. This was a language not of the tongue but of the body, its vocabulary the pressure of a finger or a palm, the nudging of a hip, the holding or breaking of a gaze, that said, You are too slow - you got too fast - not there but here - that's good - that's better! It was as if we walked before the crimson curtain, lay down upon the boards and kissed and fondled - and were clapped, and cheered, and paid for it!
Nothing unusual was noted during the voyage, in fact everything ran smoothly until Security alerted Biscay about the stiff in cabin 407. Nobody heard or saw anything suspicious. None of the passengers were missing or acting suspiciously. No airlock doors were opened or any transports allowed since their last stop four days prior. There were no notorious names on the passenger list, nor any unsavory persons among the ranks of his crew. In fact, the ship’s commander had never even seen a dead body in real – um, life before. And yet, almost magically, there it was.
We gotta be willing to let it hurt. You know, all this notion that acting is “yeah it’s pretend” and yes we enjoy it and yeah we can have a good time with it. But if you wanna LAND, you wanna make an impact, you want those FUCKERS TO REMEMBER YOU! Then you have to let it hurt sometimes. You gotta get there because that’s all an audience ever wants. Is for you to open up your chest and show them that you have a fucking heart. That’s all we want. A heart. A human being. Not an affectation.
[on Martin Freeman playing Bilbo Baggins] It was great. I got to hang out with him, and I kept a straight face for a bit and then I started giggling because I know Martin, I don't know Bilbo. For Martin to be sitting there playing Bilbo is amazing. He's going to be amazing, he's going to be fantastic in this film.
Out of perverseness, I jumped on the subway and went down to a sound stage on Fourth Street to watch the shooting of Kay Doubleday's big strip scene in Mad Dog Coll, a gangster film that can still, to my embarrassment, be seen occasionally on late-night TV... Kay Doubleday was in my class at Lee Strasberg's; it was in the interest of art, I told myself, to watch her prance down a ramp, singing and stripping her heart out.
TV stars are cool. Even if their characters are less than admirable, they come across as somehow sympathetic, maybe even neighborly. They are, after all, people you invite into your home every week. If you don't like them, you won't watch them.Movie stars, by contrast, are hot. They have to blaze so fiercely that they fill a screen forty feet high and demand the attention of a crowded theater.That's why very few TV stars have graduated successfully to features. It requires not only different skills but a different personality. You have to go from amiable to commanding.Likewise, some movie stars are simply too big for television. Jack Nicholson is riveting on-screen, but you wouldn't want him in your living room week after week. The television simply couldn't contain his personality.