A Quote by Daniel Mays
At drama school I learned the Stanislavski technique, which uses sentimental memories and bits of your past to put real emotion into the scene.
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In 'Beowulf,' director Robert Zemeckis uses a technique called 'motion capture' to conjure fantastical things, angles into action and sweeping vistas to stun your eyes and take your breath away. But what he hasn't mastered and what the technique can't do is this: emotion capture.
When I went to art school in Romania, we learned the Golden Ratio Technique Theory, which taught us that when you draw a portrait and want to show an emotion, you change the eyebrows. They are the most important feature on the face.
Antonio Inoki majored in strong style. He showed real emotion with real technique in the ring. Hard shots that look like hard shots. But the important steps is the real technique from the real martial arts. It means detail is important.
My fear of drama school is that the natural extraordinary but eccentric talent sometimes can't find its place in a drama school. And often that's the greatest talent. And it very much depends on the drama school and how it's run and the teachers. It's a different thing here in America as well because so many of your great actors go to class, which is sort of we don't do in England.
I studied technique for ten years, from age 7 to 17. I guess you could say I went more on the Stanislavski side than the Meisner side - there's always that wide divide among actors when it comes to technique.
I think really good drama comes down to real human emotion. That's what makes us all tick, and that's what I've always been drawn to when it comes to scripts is real human emotion and dealing with that.
In eighth grade, when I was just the school weirdo, my drama teacher put me in a play, and we came up with a few comedy bits. And that very first reaction, for an audience of supportive middle schoolers, I put my head out and pretended I got scared by the audience, and ducked back in. They all went: 'Yeah! That's great!'
It seems to me that information is the thing which uses matter, uses light, uses spirit, uses whatever it can put its hands on to organize itself into higher and higher levels of self-reflection.
I left drama school to do 'The Book Thief' - it was a real trip going straight from school kind of right into it, but I feel like the momentum of being in school put me in a good mindset as far as going into it as a learning experience.
...let the emotional weight of a scene rest on the dialogue wherever possible. This is the easy way to avoid overinterpretation, which seems to be what turns a scene from sympathetic to sentimental.
Drama school was the first place I learned that looks can affect your career. It was very horrible at the time. I had a lot of very bad experiences at drama school because of that, from the teachers and the students. In the end, I think it was good for me because it hardened me to the realities of the business early on.
I did all sorts of jobs after drama school - working in a bar, as a teaching assistant. I probably learned as much from them as I did at drama school.
Everyone else went to drama school, and that teaches you how to dissociate from your character. I don't know any technique! I'm just acting by chance - and by connection.
I've studied a technique called the Sanford Miesner technique, that teaches you how to focus. It's mainly about daydreaming. And the technique's really about imaginary circumstances. Using your imagination to sort of daydream about stuff. It makes you emotional in a scene.
I went to NYU drama school, so I was a very serious actress. I used to do monologues with a Southern accent, and I was really into drama and drama school. And then, in my last year of drama school, I did a comedy show, and the show became a big hit on campus.
You jot down ideas, memories, whatever, concerning your real life that somehow parallels the character you're playing, and you incorporate that in your scene work.
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