A Quote by Cory Michael Smith
'Olive Kitteridge' is the only thing that I've done on camera where we had a day of rehearsal before we shot, and I'm so glad that that happened, because I was so nervous.
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You cannot begin to imagine the shock I had when I came down on the floor for the first time. First of all, there's this whole thing about playing sitcom comedy. I didn't want to do the sitcom thing, but I didn't know what else to do. I went slowly. We went through the week of rehearsal, then we got on the floor with the cameras, which I'm used to because of my experience in the old days. Then came camera day, with an audience, and it was stunning, enthralling, exciting and chaotic. I had never experienced anything like that before, as an actor. I was part minstrel, part actor.
As an actress I have faced the camera a lot many times but you always feel nervous before the first shot.
He had a way with him. Before you had a chance to say no, he was there and done. That only happened to me once before, with a duke, who literally swept me off my feet, and before I knew what was happening, we'd done it. Another terrible mistake.
I did this thing for HBO called 'Strip Search' with Sidney Lumet, who was one of the best directors I've ever worked with. We actually had a rehearsal period before we shot, which is unusual.
Before the camera, you only had secondhand takes - someone had to tell you what they saw or draw a picture of it or sing a song. Because of the camera, sometimes to our horror, we now know everything that happens in the world - things that before we were sheltered from.
We wrote 'Olive Kitteridge' as six hours, and they asked us to make it in four.
Well, number one I like dancing. Number two I knew it would be challenging because I had never done this type of dance before. I always wanted to and I happened to have the courage to go out there and give it my best shot.
Well, I had done nudity in one other thing, but nudity for an actress is a very particular thing. It has to do with the material, and making sure it's not gratuitous, that it's done in a way that's shot beautifully, and it's for a reason. And I'd never played a lesbian before.
A camera is a camera, a shot is a shot, how you tell the story is the main thing.
Basically, I was a little bit nervous before competing beam at the Olympics, and I had this nervous thing to just talk to myself, like 'You can do it, you can do it.' And right before I hopped up there, I said, 'I got this.'
I'm always going to hear people make that connection and I've just accepted it. It's alright. I'm just happy that I get to do my own thing now. I learned a lot from the show [the Voice] as far as being in the TV world and being in front of the camera, which is really great because I'm not as nervous in front of the camera as I was before.
I like finding things out beforehand, because I'm nervous in disposition, and I worry that if I don't do anything, then I'll turn up and I still won't really have a sense of it, and it might be too late. So I like to get things as organized as I possibly can in my own head, to apply myself to the work before arriving to a late-in-the-day rehearsal, or in extreme cases, the first day on set.
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.
I had to learn a lot on 'Victorious' because I had never done multi-camera before. It's like music: You need to be on it, and there's no room for subtleties.
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence.
'Olive Kitteridge' is a masterpiece: The writing is so perfect you don't even notice it; the story is so vivid it's less like reading a story than experiencing it firsthand.
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