A Quote by Cara Delevingne
The thrill of acting is making a character real. Modeling is the opposite of real. It's being fake in front of the camera.
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Film, television, and working with a camera is such an intimate art form that if a camera is right on you, and I've got your face filling the screen, you have to be real. If you do anything that is fake, you're not going to get away with it, because the camera is right there, and the story is being told in a very real way.
Can you explore real issues as a fake character? Yes - it's called acting. Or fiction. But acting is not a method of engaging with the actual world, just as pretending to know what a character might eat does not a novel make - much less make that make-believe real.
But if the strength ain't real, I recall thinking the very last thing that day, before I finally passed out, then the weakness sure enough is. Weakness is true and real. I used to accuse the kid of faking his weakness. But faking proves the weakness is real. Or you wouldn't be so weak as to fake it. No, you can't ever fake being weak. You can only fake being strong. . .
That's the one thing that's funny about going from modeling to acting. In modeling, you're supposed to think about what you look like all the time. When you're in front of the camera, if you're not considering that, God knows what the pictures will look like. With acting, you have to completely forget it.
Theatre is fake... The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.
I think it just really excites me, the idea of delving so far into a character that people actually believe it's real, and I start to believe it's real. It's a strange thing to say, but it's the thrill of getting all the details right and being so absorbed in the character that people go along with the illusion.
What you think is fake in your head comes off as not enough on camera, a lot of times. You almost have to overdo it, in this overly, sort of Broadway, large-gestures kind of way to come off as being realistic on camera. It's strange. You almost have to act really fake to come off looking real.
Real person. real name. I won't divulge too much, but it's not a fake name. And it's not a fake person. I guess that's the best answer I can say: It's not a fake name and it's not a fake person. But it's not her real name and it's not a real person either.
To be a performance artist, you have to hate theatre. Theatre is fake... The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.
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.
I remember the senior class play I was in. I was also in the musical, although I can't sing at all, but I wanted to be a part of it. Then I was modeling in Pittsburgh, so being in front of the camera was something I enjoyed and benefited from. I made money growing up by modeling locally.
I've wanted to do some sort of acting stuff down the line, but modeling is a good way to get comfortable in front of the camera.
I think it's because I'm real. Inside and outside of the ring, what you see is what you get. I'm CM Punk. I'm not trying to be something I'm not. I'm not trying to lie to the people or be fake. I'm not trying to be some crazy, outlandish character. I'm real and they appreciate that. Everything I say, it comes from the heart. It's all real.
The world of art, I have suggested, is full of fakes. Fake originality, fake emotion and the fake expertise of the critics - these are all around us and in such abundance that we hardly know where to look for the real thing. Or perhaps there is no real thing?
The thrill of being in front of a camera remains exactly the same.
We often mistake the artificial chemical and psychological thrill of fake edges for the real. In fact we often seek them out as a substitute for the reality of change, growth and exploration. Our minds and bodies help us in this, as they react much the same to this simulations as to the real world.
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