A Quote by Claire Danes
I'm just always learning lines. I've learned to flag the really crucial scenes, and I start figuring them out and committing them to memory as soon as I get them.
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So you have the challenge of just learning the lines, period, and not only learning them, but learning them to the extent that you assimilate them, so that you're not worried about what the next word is coming out of your mouth when it comes to doing a scene. And you're also in the trenches with the writers, just in the wonderful kind of back and forth of how is it best to say something, even if it involves four or five words. I love that kind of thing.
I start a lot more songs than I finish, because I realize when I get into them, they're no good. I don't throw them away, I just put them away, store them, get them out of sight.
I want to get out of the way of the actors. I want to get out of their eye lines. I want to them to stop thinking they're making a movie. I want them to just go and live. It's like you take these great actors and put them in an aquarium of life, and just watch them swim. That's what makes editing tough because you get all these beautiful, unplanned moments.
There are players like that - you know they have been rascals, and that you can bring them in, give them a new environment and get a length of time out of them, but they will always return to type. You can get something out of them, then you have to get rid of them.
You start out happy that you have no hips or boobs.All of a sudden you get them, and it feels sloppy. Then just when you start liking them, they start drooping.
Film is a lot different. You have the whole script in its entirety, and you have a couple of weeks to learn different scenes, really go over them and rehearse them so when you get to them they're more fleshed out. But TV shows are harder.
As soon as I start to write I'm very aware, I'm trying to be aware that a reader just might well pick up this poem, a stranger. So when I'm writing - and I think that this is important for all writers - I'm trying to be a writer and a reader back and forth. I write two lines or three lines. I will immediately stop and turn into a reader instead of a writer, and I'll read those lines as if I had never seen them before and as if I had never written them.
Funny bones, to me, are more important than funny lines. If a comedian is just not likable and doing the lines, you could read them yourself. Whereas if someone [you like] shambles out, and they tell you what a bad day they've had, they don't have to say anything. I love them. I want to hug them because they've been through something. And it comes back to empathy, always empathy.
The true end of education is not only to make the young learned, but to make them love learning; not only to make them industrious, but to make them love industry; not only to make them virtuous, but to make them love virtue; not only to make them just, but to make them hunger and thirst after justice.
It's easier for me to act in Spanish, but as soon as I get the lines in English and I know them by heart, it becomes really easy. You don't have to worry about the language anymore. It just takes more time. In Spanish, I can learn lines in 10 minutes. In English, it's going to take an hour.
I learned that sometimes our struggles are a little bit bigger than us and talking about them and coming through and having the courage to get out of them. I learned how many I touched and inspired through the journey of 'Idol' because I was just singing on the show. I wasn't really being an advocate for anything.
As soon as I gave birth, it was as if you understand them. They become people, not kids. You start to identify with them. You see yourself in them.
Actors are players and if they're hot, or onto something, you let them go, or you and the actor can both get on to something. I always run out with lines as I think of them.
I think you'll be surprised at how much more production you can get out of employees if you respect them, befriend them, let them know they're crucial to the company - and then show by example how important it is to put their nose to the grindstone.
Even when other powers have been lost and people may not even be able to understand language, they will nearly always recognize and respond to familiar tunes. And not only that. The tunes may carry them back and may give them memory of scenes and emotions otherwise unavailable for them.
When you've only got few days of rehearsal before you're in the studio, it's wonderful to start off with people that you have good, friendly, tolerable relationships to start with, for the simple reason that you don't have to spend 24 hours figuring out how sensitive they are, and can you give them a line reading, or how do you have to give them direction.
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