A Quote by Brendan Fehr
Youll never see a good performance out of me, in terms of a character, when the camera isnt rolling.
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You'll never see a good performance out of me, in terms of a character, when the camera isn't rolling.
Youll never know where life is gonna take you. Youll never know where your life is gonna go. But youll never be able to find out if you end it.
Eat better or work out more, and youll see the benefits weeks, months or years down the road. Sleep more, and youll see the benefits tomorrow.
I love when I go on set every day, because the camera people teach me camera terms and grip terms - I learn all these new terms from different people on the set and leave feeling all cool about myself when I go out places.
To act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting. You know you can't go back next week and fix it. Whereas in a live audience you know it's so in the moment and you just go with what's happening. First of all you never have to see it again so you don't know if you were really fulfilling it or not.
I went on tour with the Rolling Stones in 1972 for two or three cities. And in 1975, I was the tour photographer for the Rolling Stones. I hung onto my camera for dear life. Because it scared the hell out of me.
I think that a lot of the time I don't go for something in particular. I see what comes to me, I filter it out. I never really strive to play a particular character or do a particular genre of film. As long as it's a good script and a great range of people and my character is really interesting I can't see any reason not to do it.
I mean yes to act out something or take chances in the performance is one thing. But in terms of a camera, whatever's captured is captured so that's a little more daunting.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
The terrible tragedy for every director is to watch an actor do what you want and not have the camera rolling - and never get it back again. So I always try to roll the camera before anybody's really ready.
When you're on a movie and the production department says, "We need old photographs of you - your character - when you were 20-years-old." I usually tell them it's in storage or I had a fire. I go back to these old photos and there's never a good photo or they're of times that I'm so glad I'm out of. They have nothing to do with the character that you're playing, so it feels false. That's one of the hardest things for me in terms of looking back.
I've made up little mantras for myself, catchphrases from a screenwriting book that doesn't exist. One is 'Write the movie you'd pay to go see.' Another is 'Never let a character tell me something that the camera can show me.'
For me, what was important was to record everything I saw around me, and to do this as methodically as possible. In these circumstances a good photograph is a picture that comes as close as possible to reality. But the camera never manages to record what your eyes see, or what you feel at the moment. The camera always creates a new reality.
I don't do the show business lifestyle, you'll never see me rolling out of parties with a goody bag in my hand. My night out is a night in, with friends round for dinner.
In the theater you rehearse in order to do the performance. And in the movies the rehearsal and the performance are kind of the same thing. You're figuring it out and hopefully the camera is pointed at you when you're doing it.
With Altman, he does discuss everything with you, but then leaves you to it and gives you full rein and lets you improvise and create a character while the camera is rolling.
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