A Quote by Dabney Coleman
I think is very beneficial to relax yourself so that when you are doing it you are not staggering for lines and your concentration is not on what I am going to say - but the scene itself, the character that you are talking to.
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For a sitcom sex scene, you get in bed and that's the end of the scene. It quick and it was fast, but it was foreign territory for me. Not for Bobby. Bobby Cannavale has been down that road before. With my character, I think it will be a one-and-out. I don't think you'll see my character [in Vinyl] naked again, so relax everybody.
I am very lucky because when I come back home, I have a completely normal life. I can relax, playing golf, fishing - doing what I want. I know when I finish a tournament, I am going to relax at home.
You really have to take your time; you have to know your character and your scene. The line you are about to say comes from the moment right before. It's not what's said, it's what is in between the spaces, it's what's in between the lines; that is the most important to play.
When I am on stage I am locked away in energy and in concentration. I hear and I think about nothing but the music and I can only relax when it is over.
Your work isn't just to learn and say the lines. Your work is to figure out what the chatter in your brain is, that's going on under the lines. It doesn't matter whether you're speaking or not speaking because your mind is working the way your character's mind would work.
What is the answer to this fatigue? Relax! Relax! Relax! Learn to relax while you are doing your work!
If you feel like you're doing terrible in a scene, that usually means that you're not listening because you're too preoccupied with yourself... you're not listening to your scene partner. If you listen, you're naturally going to get that response that the camera's going to pick up because you just react.
I am just surprised to be doing anything at my age actually. When you think of where I am now and where I've come from, I am very pleased and very grateful to be standing up and delivering Julian's great lines.
[In comedy] you never want to leave the actors hanging out to dry. So you need to come up with funny individual stories for each character, and then you do this sort of comedy geometry, weaving them together. Once you've got a funny structure and you know why the scenes are funny, then you get super funny people to say your own lines, say their own lines, say things in their own way, and every scene is a live rewrite in front of the camera.
Whenever I was done with a scene, I'd go back to my trailer, relax and go over my lines. I'd think, 'I can't wait to get out there.'
I think Julianne Moore is very, very good. I've worked with her. We did Surviving Picasso. I remember one scene we did together. She had to have a nervous, a mental, breakdown in this one scene. I didn't have many lines. I just had to make sure I knew I came in on cue all right. And I was just watching her walking though the rehearsal. I thought I know what she's doing, "This is going to be terrific." So they said, "Are you ready" and she said, "Yeah," "Ok, roll the camera." And all in one take.
[While voicing] you have to create a feeling for what happened before a scene, what's going to happen after a scene, and what you are doing in a scene. You need to use your imagination even more and once your emotions are up, then your voice and expressions will go accordingly.
There's this exhausting energy from you getting your lines out and your words right, especially if it's a complicated scene. And as soon as the camera is off you and goes on the other person, you're talking garbled garbage and you feel so sorry for them because you've lost the will to live, after 18 hours of saying those lines. That's terribly unfair. So, I do love the quick-paced nature of it.
I enjoy sometimes focusing on a character in a scene that's not actually doing the main action or the talking.
Relaxation means allowing yourself to fall into a state where you are not doing anything, because if you are doing something, tension will continue. It is a state of non-doing. You simply relax and you enjoy the feeling of relaxation. Relax into yourself, just close your eyes, and listen to all that is happening all around. No need to feel anything as distraction. The moment you feel it is a distraction, you are denying God. This moment God has come to you as a bird. Don't deny.
The reason you keep on coming back to see me is very simple; every time you have seen me your body has learned certain things, even against your desire. And finally your body now needs to come back to me to learn more. Let's say that your body knows that it is going to die, even though you never think about it. So I've been telling your body that I too am going to die and before I do I would like to show our body certain things, things which you cannot give to your body yourself... So let's say then that your body returns to me because I am its friend
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