A Quote by Derek Jacobi
You have to pretend to live in those clothes that they lived in, to live within the climate that they had then. You have to imagine with the help, obviously, of all the other technicians that are around - the writer, the director, the other actors.
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I live for my work, apart from my family who come first. And I live to tell stories and pretend to be other people, it's something I've been doing since I was 3 years old. Maybe it's because I'm intrinsically bored with myself, and I find other people more interesting.
I think the best work of the director is to listen to what all the technicians around him have to say, but then the thing is to take the best decision, what you think is the best. Then, that is the moment where you have to have all the film in your head and imagine how all of that will fit together.
I live for my work, apart from my family who come first. And I live to tell stories and pretend to be other people, it's something I've been doing since I was 3 years old. Maybe it's because I'm intrinsically bored with myself, and I find other people more interesting. The more different they are, the bigger the challenge.
I always had amazing food around the dinner table, a beautiful house to live in, cool clothes to wear to school, and help with my homework. I am so lucky.
It is not possible to live in today's society without a cozy home. What is a cozy home? A cozy home is a place where there is a unity in all those who live there, an understanding in all those who relate to it. There is a will to sacrifice for each other; there is a will to live for each other; there is a will to protect each other.
Learn as much as you can about performing. Live theater, improv classes, music, stand up comedy, dance, anything to make yourself confident and comfortable in front of an audience. It'll all come in handy when auditioning for producers and performing with other actors. The best voice actors all have a live performance background. And are competent, fearless, incredibly creative actors.
I find it rather tedious working with some actors who have to go into a corner and bounce up and down, shake their hands and arms, saying to the director, "Just a second - I'll be ready in a few minutes, " while all the other actors are waiting around to get in. Then they say, "OK! I'm ready now." And then they come on and do it exactly the same way they've done it in rehearsal.
The first thing Syrian refugees want is to be able to live within Syria. That means help, humanitarian help, the way we understand it, food, medical care, any other, let's say, basics for the daily life.
I just hope that in some ways, 'Minari' can pave the way for other filmmakers, other actors, other projects that maybe don't fit within traditional boxes - if it helps those films get made in the future, I'd be so thrilled.
I think that what's important as a director is to give your actors the feeling that they're protected, the feeling of confidence, the feeling that if they make mistakes, then as a director, you'll know how to help them. If you're able to convey that, then the actors will give you wonderful performances. As well as the author, you have to write scenes that give the actors the opportunity to show what they're capable of.
I'm not one of those actors who wants to live in some kind of dark character and wants to live in the darkness so much that no one around me has any fun.
Our forefathers had civilization inside themselves, the wild outside. We live in the civilization they created, but within us the wilderness still lingers. What they dreamed, we live, and what they lived, we dream.
If you live with unhealthy people, to be healthy is dangerous. If you live with insane people, then to be sane is dangerous. If you live in a madhouse, even if you are not mad at least pretend that you are mad; otherwise those mad people will kill you.
Most of us can't help but live as though we've got two lives to live, one is the mockup, the other the finished version, and then there are all those versions in between. But there's only one, and before you know it, your heart is worn out, and, as for your body, there comes a point when no one looks at it, much less wants to come near it. Right now there's sorrow. I don't envy the pain. But I envy you the pain. (p. 225)
I'm not a sketch writer. I know what I am: I have a sensitive comedic sensibility. What turns me on is subtle neurosis. That's my game. I'm not an action writer or a thriller writer and I'm not a sketch writer. I don't pretend to be those things. Then it would not be fun. Then you are in a space where this is painful.
Imaginary friends are one of the weirder forms of pretend play in childhood. But the research shows that imaginary friends actually help children understand the other people around them and imagine all the many ways that people could be.
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