A Quote by Thelma Schoonmaker

An actor's performance can be improved or shaped - or ruined - by what takes you use, how long you are on the actor's face, what line you put on the other actor's face, and when do you use close-ups or wide shots or two shots.
Because makeup happens in my life as an actor, face wash is a key. I use La Mer cleansing gel every morning, every night, sometimes three times a day. Also, I use Bobbi Brown's Hydrating Face Tonic that you put on after you wash your face. It just rejuvenates your face. It takes away that morning face.
We tend to have so many more close shots, which compels an artist to actually put in more effort than it is required otherwise. So, it is the expressions on the face, and how an actor presents his or her character, that really makes a scene. In such ways, Mollywood is a fabulous training ground for actors and actresses from other industries.
The next actor I meet that uses the term 'courageous' to describe another actor's performance is getting punched in the face.
As an actor, you generally want to see the other actor's face.
For a movie actor, the biggest challenge on TV is the number of close-up shots.
I feel whatever an actor does on screen is something the actor 'does,' and what the director can do is to tell, talk or instruct. So, all the credit for an actor's performance goes to the actor alone.
It's incumbent upon a director, if you want to pull the best performance out of an actor, you have to really work to who they are and how they work and not just expect them to hit a mark every time. You have to be very adaptable in the approach that you use with every different actor.
An actor is an actor. There should be no labelling - mainstream actor, art film actor, serious actor, comic actor.
I love staging action and wide-shots, not necessarily going to close-ups.
For me, some of the happiest moments on a live-action film are the awkward moments. One actor says something to another actor. They didn't expect that performance from that actor; that affects their return performance.
You dream as an actor's director of letting moments breathe through two-shots.
In putting setting to work, I like to think about long shots and close-ups. The long shot is the overall view of the place in which the characters live - the island, the town, the wide sweep of place. Then we narrow in. The close-up, the tight focus, makes the place different from anywhere else.
Age is as much an asset for character players as it is for good wine. Human experiences, both good and bad, leave their marks on one's face and bearing. A few lines on the face and a few gray hairs coupled with the idiosyncrasies an actor adopts throughout life help out round out the actor's personality. So far as I'm concerned, the older a character actor gets, the firmer his position is.
Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.
If you're working in close-ups, then an actor is only able to act with his head. I like an actor to act with their entire body.
In making YouTube videos, you can't just be an actor, you have to also know the shots and how to write.
This site uses cookies to ensure you get the best experience. More info...
Got it!