A Quote by Abbie Cornish

Whenever I am acting, it's everything, you know. If I'm researching a role, I'm completely consumed in that and, between action and cut, I live in this suspended time.
When they say 'action,' I am into it completely and forget everything around. When they say 'cut,' I am back to myself.
Acting between action and cut is temporary. The result is permanent.
'Everything beautiful occurs when the body / is suspended,' Helena Mesa quotes a performance artist who hangs his own pierced body in the air. Mesa's poems are artfully suspended between lyric and narrative, between humans and animals, between Latin America and the U.S., between desire and the difficulty of its fulfillment. Horse Dance Underwater is an inventive, musical, and powerful debut.
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."
In the time between when you first read a script and are offered the role and the time when you begin to shoot, I really love putting in the time and work on that and getting a solid backstory to a character and researching all that I can about what that person does for a vocation or their upbringing or where they're from.
For me, I've never drawn a distinction between live-action acting and performance-capture acting. It is purely a technology.
I am the beast with a contorted grin, contracting down to illusion and dilating toward infinity, both growing and dying, delightfully suspended between hope for nothing and despair of everything, brought up among perfumes and poisons, consumed with love and hatred, killed by lights and shadows. My symbol is death of light and the flame of death. Sparks die in me only to be reborn as thunder and lightning. Darkness itself glows in me.
The fact of the matter is that an actor, if I'm playing a performance capture role and you're playing a live action role and we're having a scene together, there's no difference in our acting processes.
My belief about performance capture is that it's a technology which allows actors to play extraordinary characters. But from an acting perspective, I've never drawn a distinction between playing a conventional, live action character and playing a role in a performance capture suit. And from a purely acting point-of-view, I don't believe there should be a special Oscar category because I think it sort of muddies the waters in a way.
I live every character between 'action' and 'cut' and do not take them home or live with them for 70 days while shooting. That is my process.
For us, the biggest thing is casting and making sure that every role has the right fit and that person understands the role, and then, really, it's pretty easy. You just try to stay out of the way and say 'action' and 'cut' - don't say 'cut' too soon. Let it happen.
Theres a great sense of achievement, testosterone, fun, being able to live out your masculinity when you play an action role or an action-adventure or a real tough-guy role.
There's a great sense of achievement, testosterone, fun, being able to live out your masculinity when you play an action role or an action-adventure or a real tough-guy role.
For the average person, taken to their sick bed, it takes a serious bout of pneumonia or a full body cast to completely forget the life they had prior to falling off the rollercoaster. I, however, will do this over a paper cut on my thumb, obsessing of said cut and being generally consumed by it.
I am an actor who gets into a role only when the director says 'action' and gets out of it with 'cut.'
I am only an actress when they say, 'action' and I stop being an actress when they say, 'cut'. I am a normal person outside of acting.
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