A Quote by Barbara Stanwyck
Eyes are the greatest tool in film. Mr. Capra taught me that. Sure it's nice to say very good dialogue, if you can get it. But great movie acting - watch the eyes!
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When you're casting a movie and when you're shooting a film, the eyes are the most important feature of any performer, really. Any great actor literally knows exactly how to use their eyes, and even as a filmmaker I love shooting huge close-ups because it's those eyes that mean so much to me.
There are four simple ways for the observant to tell Mr. Croup and Mr. Vandemar apart: first, Mr. Vandemar is two and a half heads taller than Mr. Croup; second, Mr. Croup has eyes of a faded china blue, while Mr. Vandemar's eyes are brown; third, while Mr. Vandemar fashioned the rings he wears on his right hand out of the skulls of four ravens, Mr. Croup has no obvious jewelery; fourth, Mr. Croup likes words, while Mr. Vandemar is always hungry. Also, they look nothing at all alike.
It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.
I've always thought of acting as a tool to change society. I watch a lot of actors and I see panic in their eyes because they don't know why they act and I know why I act. Whether I'm a good or a bad actor, I know why I do it.
Here is something no real celebrity will ever tell you: film acting is not very fun. Doing the same thing over and over again until, in the directors eyes, you get it right does not allow for very much creative freedom... In terms of sheer adrenaline, film has absolutely nothing on theater.
Here is something no real celebrity will ever tell you: film acting is not very fun. Doing the same thing over and over again until, in the director's eyes, you 'get it right' does not allow for very much creative freedom... In terms of sheer adrenaline, film has absolutely nothing on theater.
Watch their hands, watch their eyes. Read eyes. No matter what a man is saying to you, it's not as important as what you can read in his eyes. The most important thing a man has to tell you is what he's not telling you; the most important thing he has to say is what he's trying not to say.
You must not say that this cannot be, or that that is contrary to nature. You do not know what Nature is, or what she can do; and nobody knows; not even Sir Roderick Murchison, or Professor Huxley, or Mr. Darwin, or Professor Faraday, or Mr. Grove, or any other of the great men whom good boys are taught to respect. They are very wise men; and you must listen respectfully to all they say: but even if they should say, which I am sure they never would, 'That cannot exist. That is contrary to nature,' you must wait a little, and see; for perhaps even they may be wrong.
I'm not so sure that I can teach people how to, you know, write dialogue or create plot or anything like that. But if I can get them and grab them by the scruff of the neck and say, you can do this, and if I see that fire in their eyes, that's when I think I know a writer.
I had very good eyes once. Though it's another thing to say what I saw. In my experience, it is entirely possible to watch something happen and not to see it at all.
I got to watch Frank Capra, in his eighties, in action. You read all the stories about Frank Capra fighting with the head of Columbia, Harry Cohn, "It's my way or the highway." I got to watch that. He lambasted me, "You cannot do this. You will fail." Finally, after another hour of conversation, I convinced him to help me write the speech.
For example, if ears are back on a horse, it's obviously not very happy. And the eyes show that it's not happy. Now, if the eyes are nice and soft and brown, then it's calm. You can see these things in horses and cattle, and I think that some of these people are just really good at picking up these signals, but they don't realize it.
Every film by Will Smith, Harry Belafonte, Sidney Poitier, Lena Horne, Ruby Dee, Don Cheadle will have great acting and carry good messages in the film. The films starring those actors are the films I tell young people to watch for good acting and to view for quality movies.
Once I got into the league, I liked to watch LaDainian Tomlinson. He was nice, man. Quick, strong, great eyes, able to catch the ball.
Your internal dialogue has got to be different from what you say. And, you know, in film, hopefully that registers and speaks volumes. It’s always the unspoken word and what’s happening behind someone’s eyes that makes it so rich.
Your internal dialogue has got to be different from what you say. And, you know, in film, hopefully that registers and speaks volumes. It's always the unspoken word and what's happening behind someone's eyes that makes it so rich.
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