A Quote by Daniel Radcliffe
In my experience of doing physical scenes, half of your energy is spent on trying to get the other actor to enter into it physically with you. Most actors don't want to hurt each other.
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If you've got 15 actors on stage who are all trying to shine a light on themselves, they are all trying to outshine each other. Whereas if you have 14 of those actors trying to shine a light on one person, and each of them is trying to make the other look good, you have a much more interesting process.
Just to get the actors to relax, listen to each other, and actually affect each other, there are a number of techniques you have to learn, and they don't all work on every actor.
We hurt each other, is the point. Hurt, annoy, embarrass, but move on. People, it just doesn't work that way. Your own feelings get so complicated that you forget the ways another human being can be vulnerable. You spend a lot of energy protecting yourself. All those layers and motivations and feelings. You get hurt, you stay hurt sometimes. The hurt affects your ability to go forward. And words. All the words between us. Words can be permanent. Certain ones are impossible to forgive.
As wrestlers, we're not trying to hurt or damage physically our opponent. All we're trying to do is score points and get our hands raised, so I think that's where we differ from the UFC, but I think that also the way in which we could address each other could be cool from a competitive spirit.
In the scenes I try to be a giver as much as possible, giving the other actor something to work with. When not in the scenes I will stand in for eye lines to help the other actor with delivery and hopefully performance.
We believe in taking down the barriers, but we also believe in the most energetic reconciliation among peoples by getting them to know each other, talk each other's languages, understand each other's fears and beliefs, getting to know each other physically, philosophically and spiritually. It is much harder to kill your near neighbor than the thousands of unknown and hostile aliens at the other end of a nuclear missile. We have to create a world in which there are no unknown, hostile aliens at the other end of any missiles...
In total, I have spent 35 years at Hokkaido University as a staff member - 2 and a half in the Faculty of Science, and the other 32 and a half in the Faculty of Engineering. Other than about two years of study in America and a few months in other places overseas, most of my life has been spent at the Faculty of Engineering.
The music certainly plays a major role. You can be free enough to comfort each other, to touch each other, to embrace each other, to engage each other, to not be afraid of each other. The music certainly has that very strong element. Go back to folk songs, gospel, jazz, and spirituals. See, all of that came out of tremendous pain and hurt, rejection, loss, alienation, and abandonment. What I'm doing is I'm expressing my pain and hope at the same time.
We tried so hard. We were always trying to help each other. But not because we were helpless. He needed to get things for me, just as I needed to get things for him. It gave us purpose. Sometimes I would ask him for something that I did not even want, just to let him get it for me. We spent our days trying to help each other help each other. I would get his slippers. He would make my tea. I would turn up the heat so he could turn up the air conditioner so I could turn up the heat.
When you're trying to enter something as intimidating as comedy, starting out with a support network of likeminded people is a powerful thing. It was natural we'd end up working together because we went through those first petrifying moments together. We created gigs for each other, slapped each other on the back, and protected each other.
It's impossible to put your finger on what that is exactly other than protecting the environment that the actors get to find the scenes and build the scenes and invest in them. I think that's key and that's what I've learned from all the great directors I've worked with.
We had a lot of rehearsals for the original Twilight to get the family to learn each other and experience each other, so we could all be like a family. We spent a lot of time together.
In film, other actors' performances really are not your concern. If the other actor isn't giving you what you want, act as though he were.
When people are supporting each other and trying to get the most creative energy, it just creates a much better project and there is a feeling of success there.
There never is any such thing as one truth to be found in dramatic art. There are many. These truths challenge each other, recoil from each other, reflect each other, ignore each other, tease each other, are blind to each other. Sometimes you feel you have the truth of a moment in your hand, then it slips through your fingers and is lost.
The last page of [Lincoln in the Bardo] - without giving too much away - involves somebody entering somebody else. Not in a sexual way. But it says one of the simplest things you could ever say, which is that we must try and be inside each other. We must have some kind of feeling for each other and enter into each other's experience.
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