A Quote by Stephen Root
I'm more interested in knowing my cues than my lines. If you know what your cues are, then you know what your reaction is going to be to them. Acting is about reacting, and if I can kind of purely react, that's easier for me.
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Many people with autism struggle with reading nonverbal cues and acting on them. When you lose that ability to understand and process nonverbal cues, you're at a huge disadvantage socially.
As an actress, there's nothing worse than not knowing your cues.
I don't control it at all. It's all up to the musicians in the group. They control it. They make all the cues, and they tell me what they want, and then I act like a mirroring device so that everyone can see what the cues are.
The only thing I know that makes me feel comfortable is to know as much as I can. Not like what the shots are going to be, but knowing enough about my character that I can forget those things. And more specifically, my lines. I have to know my lines. I have to know something really well, so I can forget it when we're doing it. And there is comfort in knowing, "Okay, there's not another stone that I could have overturned."
Acting is all about reacting. When you look into the eyes of your co-star and there is truth in his eyes, giving a reaction becomes so much easier.
I ain't the captain of the yacht, but I'm on the boat; I ain't acting what I'm not, knowing that I don't. You niggaz acting like you will, but I know you won't. Man, I read between the lines of the eyes of your brows, Your handshake ain't matchin your smile.
I find it difficult to work if I don't know the lines, you know, and not just knowing - they're second nature to me. Then, whatever happens in the performance when you're actually doing it, you're not going to go off. You're going to retain all of that. So I like to have my lines.
You take the opportunities when you get them, and you try to see if there's any cues the opposition gives you, but more important is focusing on your own process, trusting your instincts, and being decisive.
Acting is nothing but reacting, so if your co-stars react in a particular way, it does affect your acting as well.
Meditation is a journey to know yourself. Knowing yourself has many layers. Start knowing your bodily discomforts. Know your success, know your failures. Know your fears. Know your irritations. Know your pleasures, joy and happiness. Know your mental wounds. Go deeper and examine every feeling you have.
Practice your improv more than learn your lines. 'Cause there's no way you'll be able to learn all those lines in a short time. You have to realize what you know and what you don't know - and what you don't know, just come up with three alternate lines or improv that you can put in that spot.
Wanting to be liked means being a supporting character in your own life, using the cues of the actors around you to determine your next line rather than your own script. It means that your self-worth will always be tied to what someone else thinks about you, forever out of your control.
You know, you're just sitting with him [Chevy Chase], then you're doing a scene with him and acting, and all of a sudden you go, "Omigod, that's Chevy Chase!" And then you've got to keep acting. "Danny, your lines? Your lines...? You've got to keep going!" "Oh, sorry, sorry!"
The camera does not like acting. The camera is only interested in filming behaviour. So you damn well learn your lines until you know them inside out, while standing on your head!
The pilot looked at his cues of attitude and speed and orientation and so on and responded as he would from the same cues in an airplane, but there was no way it flew the same. The simulators had showed us that.
That's the thing about acting - it does have the feeling of downhill skiing. When it's really all going right, you know your lines, you know what's important to your character, you pick the strongest reactions possible to elements in the story. But then you let it all go and you're in the moment and stuff happens. It surprises you and it's super strong; it's like you're living life in a slightly heightened way in the time between "action" and "cut."
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