A Quote by Abbas Kiarostami
When we start shooting I don't have rehearsals with characters at all. So, rather than pulling them towards myself, I travel closer to them; it's very much closer to the real person than anything I try to create. So I give them something but I also take from them.
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I don't have a twin, but I do have a brother and sisters, and I do know that there is a special bond there that is - I'm going to say - closer. It's different. It's closer than having a best friend. It's easier to forgive them. I think it's also easier to get mad at them. You feel a little piece of yourself in them.
Successful people maintain a positive focus in life no matter what is going on around them. They stay focused on their past successes rather than their past failures, and on the next action steps they need to take to get them closer to the fulfillment of their goals rather than all the other distractions that life presents to them.
I realized that, instead of moving people closer to a salvation decision, an answer can push them further away. Rather than engaging their minds or urging them to consider an alternative perspective, an answer can give them ammunition for future attacks against the gospel.
I prefer to take actors and put them in real settings and real locations and real situations rather than create artificial locations that serve the characters. It's just much easier when you are walking down the street with your actors to do that in a real street that's still open with people on it, rather than to close it off and bring in extras.
Rather than going after our walls and barriers with a sledgehammer, we pay attention to them. With gentleness and honesty, we move closer to those walls. We touch them and smell them and get to know them well. We begin a process of acknowledging our aversions and our cravings. We become familiar with the strategies and beliefs we use to build the walls: What are the stories I tell myself? What repels me and what attracts me? We start to get curious about what’s going on.
Nothing is more debilitating than to care about something you can't do anything about. And you can't do anything about your adult children. You can want better for them, and maybe even begin to provide something for them, but in the long run, you cannot do anything about someone else's vibration other than hold them in the best light you can, mentally, and then project that to them. And sometimes, distance makes that much more possible than being up close to them.
I have too much respect for the characters I play to make them anything but as real as they can possibly be. I have a great deal of respect for all of them, otherwise I wouldn't do them. And I don't want to screw them by not portraying them honestly.
But I'd rather help than watch. I'd rather have a heart than a mind. I'd rather expose too much than too little. I'd rather say hello to strangers than be afraid of them. I would rather know all this about myself than have more money than I need. I'd rather have something to love than a way to impress you.
Sometimes I'll be fifty, sixty pages into something and I'll still be calling a character "X." I don't have a very clear idea of who the characters are until they start talking. Then I start to love them. By the time I finish the book, I love them so much that I want to stay with them. I don't want to leave them ever.
I usually always think of characters and sometimes the characters are a little bit invented, so it's nice to give these invented, blurry, personas an actually name. It makes me get closer to them or something like that. But they're not all real, they're weird amalgamations of reality.
Even when you think you can detach yourself from the characters, you don't. Because you're spending so much time trying to realize this person and make them real that they do infect you, in a way. And you do take them home and live with them, even if you think you're turning the character off. But in order to pull off a role convincingly, you wind up thinking about that person all the time, and it does sort of creep into you. And then there are things that you'll respond to, or react to in a very different way than you would normally.
In terms of jumping into a characters skin, I try to immerse myself in the role as much as possible to bring me closer to them. All I do is whats required to achieve what I want to achieve.
I want to give the audience a hint of a scene. No more than that. Give them too much and they won't contribute anything themselves. Give them just a suggestion and you get them working with you. That's what gives the theater meaning: when it becomes a social act.
I care very much about all of my characters, recurring or not. I try to imagine something about that person beyond his or her physical appearance. After creating them, part of my job is to inhabit them and try to see their world from their perspective.
There are two things parents should give their children roots and wings. Roots to give them bearing and a sense of belonging, but also wings to help free them from constraints and prejudices and give them other ways to travel (or rather, to fly).
Twitter brings you closer. I mean, we see this over and over again from our users. It brings them closer to the action. It brings them closer to their heroes.
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