A Quote by Gracie Allen
I really don't act. I just live what George and I are doing. It has to make some sort of sense to me, or it won't ring true. No matter what the script says, there's no audience and no footlights and no camera for me. There's no make-believe. It's for real.
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We were in front of a live audience and I would be acting with the man who was playing my lover, and we used those words, and the audience would titter and laugh, and make me uncomfortable doing the scenes. ... I wanted to sort of stop and yell at them, "What's so funny? What's the matter with you people? Grow up!" It made me very self-conscious at times.
For some reason, talking is easy for me. Practice does make perfect; I've been doing it for a while. Being out there in a high-pressure situation with a live audience and a live TV camera on you, it brings something out. It's very organic.
The equation I share with the camera doesn't change whether you place a camera in front of me or a live audience. Just the pay cheques differ. But that doesn't matter to me because I've so much money, I don't even think about it. It's just lying there.
As soon as I get on the mic that's something you can't really match with me, so whenever I accompany Andrade to the ring I make sure that no matter what it was I was doing, I make sure that I was a part of it and to make sure that the moment you will remember when Zelina does a crazy thing.
Some movies I make for myself. I just sort of make them for myself. I do that sometimes when the subject matter is very sensitive and very personal and I really can't imagine I'm an audience.
I think everyone agrees First Contact was our best film, and even at that, they're kind of... I don't know, they're sort of movies. But they're kind of really Star Trek movies, if you take my meaning. It's hard for me to say. I was glad to be doing them. Whether they were good isn't really up to me to determine, and it doesn't matter what I think. I thought we had a really nice script on Nemesis, and the audience didn't seem to care for it, so what can you do?
I know that I present very - they say that I present very, very calm and very, very smart, very articulate, elegant. Yeah. And I go, 'Brilliant teams of makeup and wardrobe happened to dress me and clothe me and put my face on and do my hair. And then these brilliant teams of writers give me words to speak. I just need to make sure that I have them all in this combination in my body, in my being, and then I get to do it on camera, in front of a brilliant team of camera workers who really know how to like me and make me sound good.' So I'm just really a dork in real life.
I actually think film and TV are sort of the same thing now. To me they're all motion pictures. There's a camera, a script, other actors and a director. Doing a sitcom is a little different. It's kind of a hybrid, half movie, half play, presented in a proscenium fashion - the camera's on one side of the line, the set on the other, the audience sitting behind the cameras.
If I saw something once that I can't explain, that doesn't make them real. And if a trick of the dark gave me a chill, that doesn't make them real. And if a madman says what's at the core of us all is a senseless, flapping quiver of black shade, that's just one more reason not to believe.
Regarding green screen, green screen is really like doing some stage work. You have to make believe that there is a window, make believe that something is there that is really not there and convince the audience. It's part of acting.
It never really interested me in the past but, for the first time, I wanted to make a pop record. I thought a good way of doing it would be to make songs that didn't really make sense to me as songs; songs that I couldn't just sit down and play in front of someone and then get them to play over it.
For me George Bush is just as scary, if not more. Because he doesn't look like a scary guy, because he's shaved and he has a tie on. But he's a real fanatic - a fanatic by definition is the one who says, if you are not with me, you are against me, and that's exactly the position he takes. The mullahs in my country, it's obvious. But a guy who says I am the president of the biggest secular democracy in the world and asks people to read the Bible and make crusades and says he's God's best friend - this guy is even more scary because you don't see it at the beginning.
In wrestling there are so many people inside and outside the ring, and it's so live, and it's this whole adrenaline thing. Whereas you move it into this more intimate thing, everything gets all quiet, someone says action, and you have to say the lines and make the words your own. It couldn't be any more different and it's weird sometimes trying to explain that to people. When I tell people that acting is much more terrifying to me than going out in front of ten thousand people, they don't quite believe it because for some reason that intimacy is just terrifying to me.
I got a phone call from George Miller [the director] asking me to play this role. We sat down and he showed me on his computer a documentary-type montage sequence of real penguins swimming, in an Esther Williams synchronized sort of way, and doing things I have never seen them do. Then he explained his vision of the film, asked me to read the script and to voice the character. I was cast a little bit later, and he let me do the singing as well!
It's just a matter of who you are and how you talk to people. Your subjects will trust you only if you're confident about what you're doing. It really bothers me when photographers first approach a subject without a camera, try to establish a personal relationship, and only then get out their cameras. It's deceptive. I think you should just show up with a camera, to make your intentions clear. People will either accept you or they won't.
I sometimes say that success just happens. That's not true. You have to make it happen. When I make up my mind to do something, I make sure it happens. You can't wait for the phone to ring. You have to ring them.
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