A Quote by Dave Bautista
The pressure is always stepping on stage with actors who are just so well-established. It's a scary thing. I haven't been around the block that many times, especially not on big projects. Dialogue makes things easier. When you start bouncing dialogue off of other actors, it becomes comfortable; it becomes conversational.
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More than good co-actors, if you have understanding co-actors, it becomes easier to relate with them. Many actors become insecure and get personal, which is not right.
I like to say good dialogue is a million times easier to memorize than bad dialogue - difficult good dialogue, even if it's difficult. Aaron Sorkin dialogue is easier to memorize, even though it's wildly complicated.
I don't see myself as one type of actor. When you get one role, you start to get cast in that role for awhile because that's what people have seen you do, and have hopefully seen you do it successfully. And so, it becomes an easier thing to see you as, for casting directors and directors, and they start to think of you as that particular person or type of character. But, for me, I'm just an actor, first and foremost. The actors I respect are the real character actors, who are the real chameleon actors that completely change from role to role.
The actor's relationship to the crew is really a big dynamic that influences everything. When actors are assholes, it becomes problematic. When actors are great and sensitive and prepared, it makes a huge difference.
There are so many stage actors on TV but you wouldn't know they were stage actors. And film and TV actors are going to the stage as well, so the crossover is great now.
Sometimes 'great acting' is just showing off - chewing up scenery and dialogue and other actors - the equivalent of a theatrical sugar rush.
I love that process in which there is no safety net. Then the actor also can allow mistakes, because there's no such a thing as a mistake. You're working with good actors, that thing that starts as a mistake becomes actually the life of what is going to follow in the scene. I find that it is fantastic, and for me it is easier than for the actors.
So, poetry becomes a means for useful dialogue between people who are not only unknown, but mute to each other. It produces a dialogue among people that guards all of us against manipulation by our so-called leaders.
A lot of the times the first take was the best, because the actors are not analyzing themselves as much; they just do it. I believe in happy accidents and I'm not necessarily into actors getting the dialogue exactly as I wrote it; I'm much more into them understanding the motivations and have it come out in a natural way, and maybe catch something that I didn't expect.
Trust your actors. That's why I work with the same actors time and time again. I encourage them to change the dialogue to achieve one thing: keep the characters honest.
Always get to the dialogue as soon as possible. I always feel the thing to go for is speed. Nothing puts the reader off more than a big slab of prose at the start.
Each piece of dialogue MUST be "something happening". . .The "amusing" for its OWN sake should above all be censored. . .The functional use of dialogue for the plot must be the first thing in the writer's mind. Where functional usefulness cannot be established, dialogue must be left out.
Oh, 'Sports Night' was tough because 'Sports Night' was... Well, you know, it's like Mamet. It's Sorkin. And I didn't realize that you had to immediately be off of the other actors' last line in their dialogue.
It was always the same thing - no script, dialogue at the last minute. Everyone always thought we just said anything we wanted. It's difficult to explain - some actors want to know why they have to do this and that. It was so simple and natural with Godard.
When you're making under-million-dollar films, it becomes so much about actors' availability. When you're using big actors for small films, you're in second or third position to the big monoliths.
I don't write shows with dialogue where actors have to memorize dialogue. I write the scenes where we know everything that's going to happen. There's an outline of about seven or eight pages, and then we improvise it.
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