A Quote by Abhinav Shukla
If you ask me, we actors have this amazing ability to detach ourselves from an emotion and just do it for the camera.
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I ask my assistants if they're retarded all the time. When the camera is on you, of course, actors have the ability to make it real. For me, if I'm not talking, it is a problem. I have so much more respect for actors after being in front of the camera, and I realize that the hardest part is when you're not talking. Listening is harder than just acting. Listening is the hardest part.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
Human beings are powered by emotion, not by reason. Study after study has proven that if the emotion centers of our brain are damaged in some way, we don't just lose the ability to laugh or cry, we lose the ability to make decisions. Alarm bells for every business right there. The neurologist Donald Calne puts it brilliantly: “The essential difference between emotion and reason is that emotion leads to action while reason leads to conclusions.”
With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.
When you feel yourself in the grip of an emotion such as jealousy or anger or sorrow, detach yourself from it. Take a step back. When you do that, you can allow the emotion to run through you without causing negative thoughts or actions.
What I love in working on film is just working with actors. It's one thing to write scenes alone over a keyboard and to imagine the actions and reactions in your head, but it's a completely other thing to hear actors speaking your words, to see their bodies bringing the fullness of emotion, need, desire and pain to life right in front of you. It's amazing.
I have more of a relationship with the subject than I do with my camera equipment. To me, camera equipment is like a tin of shoe polish and a brush - I use that as a tool, but my basic camera is my emotion and my eyes. It's not anything to do with the wonderful cameras I use.
My mom always has this amazing ability to always see the best in a situation. In that moment [when finished 2nd in the 200 meter race in the 2008 Olympic games] I was just completely devastated. I mean, I had worked so hard; that was my opportunity. And she was just able to turn it around for me. She helped me to be able to see the other side of things and that this is not the end for me. She's just an amazing supporter and an encouraging person and she has a unique ability to do that. And so those are the kind of things she said to me in that moment and over the next four years. When things get tough, she's always been my strength.
You have to find actors who have the ability to display a wide range of emotion effectively. That's so much harder than it seems.
The actors feel very free. The actor, he doesn't need to think about where the camera is, he just has to focus on what he's doing and forget the camera. The camera is never in the perfect position, and I think this is what keeps this feeling of reality. The frame is not perfect.
What I love is a good role. In the theatre, there is just a canon of extraordinary roles, the quality of character is amazing, but I also love working in front of a camera. It was the first one for me; as a kid I was in front of a camera. I feel at home.
I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.
At some level, you've got to have the ability to - especially in film and in front of the camera, you got to have the ability to drop into character and close off the entire crew and the camera and everything else.
The challenge has always been to wrest emotion out of a doll face that we think of as only having one emotion. It's moving a light, moving my camera; it's just this mental investment that I make, and suddenly, everything changes.
I just love actors, and I've always loved actors. I empathize with their job. Everyone thinks it's easy, and it ain't. To be that vulnerable and brave on camera is tough.
I'm focusing on my efforts behind the camera. I'm doing some producing and directing so that I can make projects for all of the amazing, talented actors and crew that I know.
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