A Quote by Ari Graynor
Sometimes you can fall into bad habits on film or rest on your laurels, and you can't do that in theater. I think it's such a useful tool as a person and as an actor to go back and forth between those two mediums.
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I like to go back and forth between film and theater. When I do film, I miss theater and vice versa.
I am open to doing anything. I don't think in this day and age that, aside from two or three people, there isn't an actor who can just do one thing. I also think you can go back and forth between film and television pretty seamlessly.
One of the reasons I love to jump back and forth between mediums is that film does allow me to be more literal. I can go to the real place. I can go to the Coliseum, and I don't have to fake it.
Once you fall into habits, I think, you're dead as an artist. You have to challenge yourself and never rest on your laurels, never think about what you've done in the past.
I've enjoyed the singular focus of not going back and forth between the two mediums. It isn't about the screen size so much as film being where the stories I'm most interested in telling happen to be at.
In an ideal world for me, I would like to go back and forth [between film and theater]. I kind of want to do it all
What happens in Israel, it's not so divided between being a film actor, or a TV actor - usually, we just do everything. I do theater, film, and television, and the theater is mostly financed by the government.
When you do a four-camera sitcom, everything is a little schtickier. It’s not necessarily that you pick up bad habits, but there is just a very specific way of acting that you fall into on those kinds of multicamera shows, and you have to break those habits when you go in to do other things.
You learn from the bad games and the bad tours. And, when things are going well, you think about that and you make the most of it. You don't get lazy; you don't rest on your laurels.
The theater and film, they're like two completely different mediums.
All I've learned in today's Shakespeare class is: Sometimes you have to fall in love with the wrong person just so you can find the right person. A more useful lesson would've been: Sometimes the right person doesn't love you back. Or sometimes the right person is gay. Or sometimes you just aren't the right person.
Thanks for nothing, Shakespeare.
I feel great when people like my work, but after a day or two, I don't keep that in my head. I go back to working and training. I don't rest on my laurels.
People call me a theater actor, but I'm just an actor. But I tell my friends all the time - especially a lot that do theater and haven't done a lot of TV/film - that you have so much more control over your work onstage. When you go onstage, you can really see the difference between people who can really do it, and people who are just kind of pretending to do it. There is no editor, there's nothing that's going to stop the actor from showing what they can do unless it's not a well-written role.
My tides were fluctuating, too - back and forth, back and forth - sometimes so fast they seemed to be spinning. They call this 'rapid cycling.' It's a marvel that a person can appear to be standing still when the mood tides are sloshing back and forth, sometimes sweeping in both directions at once. They call that a 'mixed state.'
So we [with Kate DiCamillo] would act them out, we would toss ideas back and forth, we would laugh, we would argue. Sometimes it went really well, sometimes it was such a pain in the ass. Our other rule was that we wouldn't work on it at all when we weren't in the other's presence. It was really hard not to do that. We'd start going on email back and forth, 'What do you think about this, what do you think about that?' But, no, no, no, it had to be live. So we forced ourselves not to look at it except during those two-hour stretches when we were actually with each other.
On your first film, you think these are going to be your closest friends for the rest of your life. You form a bond, but then you go back to the rest of your life.
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