A Quote by Corey Stoll
When you're in a theater, it's about reaching the back rows. When you have a camera in your face, it's just about knowing the size of the room.
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It's not always about reaching the widest audience. It's about how you reach people, and in that sense, there's no difference between a little room in a back basement with ten people if you hit them hard enough, there's a nobility to reaching ten people. They are not irrelevant because they are less than 10,000.
There's just something about getting up, putting it out there, and getting this exchange of energy. Whether your audience is a camera lens, or live theater, or whatever it is, just putting that out there and getting it back is just an honor.
I did a lot of theater, so especially as an on-camera camera actor, there are so many things that aren't in your toolbox. They're somebody else's job. You think about editors and rhythm. Volume isn't even in your control.
So the thing that's beautiful about the Rolleiflex is that I open the camera up from the top and put my face in and that the camera's all about composition and all about light.
This is about Americans getting off the sidelines and getting onto the playing field, .. This is about each and every one of us who have been blessed by the wealth of this country sharing that blessing by reaching down and reaching back and lifting up somebody in need. That's what America is all about. That's what being American is all about.
You've just got to follow your own path. You have to trust your heart and you have to listen to the warnings. ... You can't argue with the universe. It's not about that. It's more about relaxing and knowing that you can handle it and feeling empowered. Knowing you have the power to do whatever the hell you want to do. That's what it's about. It really is.
There was actually a camera on your face. I don't know so much about the animation process but the camera was in our face so it could get expressions from our faces that would eventually arrive on the gnomes. It almost felt like you were cheating at times because it was a wee bit too much fun. You were in that box on your own. Kelly [Asbury] was in Toronto, I was in LA, so I was just on my own. I thought: "I can't be getting paid for this as well!"
Life isn't about the cherished moments it is also about the hard ones. Just knowing each day that you will arise with the bright shining sun in your eyes. And end with the cool breeze upon your face as you slowly reflect the day that passed by.
Filmmaking isn’t if you can just strap on a camera onto an actor, and steadicam, and point it at their face, and follow them through the movie, that is not what moviemaking is, that is not what it’s about. It’s not just about getting a performance. It’s also about the psychology of the cinematic moment, and the psychology of the presentation of that, of that window.
Chicago theater vs. New York theater. There's just nothing to say about it really. If you've seen Chicago theater, you know that the work is true to what is there on the page. It's not trying to present itself with some sort of flashy, concept-based thing. It's about the work, and it's about the acting you're about to watch. So acting-based theater feels like it was born there to me.
Whether the theater is 1,000 seats or 500 seats or 200 seats, you have to make sure the person in the back of the theater can hear you and understand you. So there's a lot of articulation and a lot of voice in theater that really just isn't necessary when it comes to dealing with the camera.
The camera is objective. When it records a face it can't make any hierarchical decisions about a nose being more important than a cheek. The camera is not aware of what it is looking at. It just gets it all down.
I'm a narrative-minded actor. I'm thinking of the story. I'm not worried about whether the camera is on the right side of my face, or where the camera is. I'm just going for the story.
It's important to me, no matter what size I am or weight I am, to feel beautiful. Even at my biggest I was rocking body con dresses and you couldn't tell me twice. That's what I think Good American is. It's about women of individuality and diversity, but also about being comfortable in yourself. That's what we're trying to promote. It's not about fitting into a size two and that's what makes you beautiful. I just want people to be healthy and love who they are and be in control of your life. But that doesn't mean you have to be a size six.
My preparation is mainly just knowing the lines and getting in and knowing where your character is, knowing what it's about and having ideas that you can put in on the day.
My first pictures are from 1972, and my first proper camera dates back to 1973. During the first year I used my father's camera. It had a flash on it, which I don't like, but I didn't know anything about photography back then, so it was just what I did.
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