A Quote by Charles Durning
You're out there on a high wire without a net, and that's the way actors operate. They have to be fearless about how they work and they have to create a life for the audience in 90 minutes and make them believe.
Related Quotes
The greatest thing about the call-in show is that you always felt like you were on a high wire without a net.
At Gatling-gun tempo word-perfect the first time out. the journalistic equivalent of a high-wire front somersault without a net.
I quickly learned that motherhood was a high wire act sometimes performed without a net.
If you're one car accident away from poverty, you're on a high wire without a safety net. And that's a challenging proposition.
That's the thing about Lionsgate. They are fearless. No other studio would have made 'Hunger Games' the way they did. They're being fearless in the way they make decisions, and it's paying off for them.
I believe in doing my work quietly and not make a big hullabaloo about it. That is how I operate. I don't see any other reason to be visible for; I like it when people talk about my work - that is what I am here for.
I believe in sensible, moderate exercise. I try to do something every day, at least 20 minutes per day. I don't think it's realistic to ask people to work out 90 minutes a day.
To see the universe as it is, you must step beyond the net [the matrix]. It is not hard to do so, as the net is full of holes. Look at the net and its many contradictions. You do and undo at every step. You want peace, love and happiness, and work hard to create pain, hatred and war. You want longevity and you overeat. You want friendship and you exploit. See your net as made of such contradictions and remove them - your very seeing them will make them go away.
Some actors can create characters and leave them at 'Cut!', but I work the opposite way and drag them out of me. For me, it's about fixing your fabric to fit the role.
What social media has done - Facebook, Twitter - is show the audience. I don't have an audience. When I make my work, it just goes out into the ether. I have a thick skin and it just brings me down to earth, you know, to realize how out-there and far away and paltry the audience is that gets what I'm saying. It's depressing if I let it get to me. And it's the same with hanging a show, the way it's put up, like, three stories high and you can't read a single word.
Learn as much as you can about performing. Live theater, improv classes, music, stand up comedy, dance, anything to make yourself confident and comfortable in front of an audience. It'll all come in handy when auditioning for producers and performing with other actors. The best voice actors all have a live performance background. And are competent, fearless, incredibly creative actors.
Every week it's another opportunity to really make that work and figure out how to make it work better. And I love that it's like theater, too, and the audience, and it's so short. It's only 20 minutes. It's like a haiku or something.
Being a winger or a wide mid, I have to run continuously for 90 minutes, which not only takes endurance but also strength in my legs to be able to be explosive for 90 minutes. I think weight training has really allowed me to sustain for those 90 minutes.
I believe that given the audience attention level, we could do an even more compelling 90 minutes.
I know that it feels dangerous and scary and working without a net, so to speak. And working without a net, for me - maybe other women do it a totally different way - means being vanity-free. That's how, as an artist, I know that I need to work.
The way the world works now, the way the rules of engagement operate, you can't claim to make sense out of the exterior without booking voyages into the interior. Think about it: How can you understand 'it' if you haven't made any effort to understand 'you'? Because what you're really doing is establishing a living, electrical, vital, energetic connection between it and you. You're creating both of them, simultaneously. A lot like quantum physics.
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