A Quote by Don Ameche

I've seen my performances. I don't like them. — © Don Ameche
I've seen my performances. I don't like them.
A lot of the people I'm working with are not actors, or it's their first time in a movie. I'm not trying to shape performances, coax performances out of them. It's more like I want to put them in situations that naturally work or allow them to be themselves. If it's not happening, I'll just completely switch it up, rather than trying to make it work.
I think every actor has those performances they've seen, the person who made them realize that's what they wanted to do.
'The Kids Are All Right' is amazing. The performances are insanely good. Julianne Moore is going to wreck you. This is the best I've ever seen her, and I've seen everything she's ever done. I like the story, and I think it's a great alternative to the big summer popcorn blockbusters.
When I meet someone who I really admire, I enjoy nothing more than trying to connect with them and asking them about their career. I want to know who the people are behind the performances and how they relate to their performances. But it's maybe not as novel as it once was.
Everybody has the clarity of telling I haven't seen a player like Lionel Messi, and I am fortunate for training and seeing him every day at the training field. And even sometimes he surprises you with some good performances. There is not comparison with other players I have seen along my life. He is unique.
I can't cheat on my performances. For me my films are like my babies. I nurture them and look after them like a mother. I can't play truant from shooting even for a day. When I agree to do a film I am with it all the way.
My favourite performances are by actresses like Bette Davis in 'All About Eve' or Gena Rowlands in pretty much anything - performances that have nothing to do with age.
I don't ever like to see paparazzi much, but I have seen them, and I guess anyone who's seen them knows how scary they are.
The Evolution of Greatness' was an amazing experience, and it's something that we hope to have been a steppingstone for us to come back and not only do more NBA All-Star performances, but do halftime performances at events like the Super Bowl.
I think one of the reasons younger people don't like older films, films made say before the '60s, is that they've never seen them on a big screen, ever. If you don't see a film on a big screen, you haven't really seen it. You've seen a version of it, but you haven't seen it. That's my feeling, but I'm old-fashioned.
If you've been in a film that's seen by millions and millions and millions of people, you're more likely to be recognized for that than for your theater performances, which were seen by considerably less people. Why would I get upset by that?
We put pride into everything like salt. We like to see that our good works are known. If our virtues are seen, we are pleased; if our faults are perceived, we are sad. I remark that in a great many people; if one says anything to them, it disturbs them, it annoys them. The saints were not like that - they were vexed if their virtues were known, and pleased that their imperfections should be seen.
Jessica Lange in Frances... was dramatic and passionate and one of the strongest performances I've seen a woman do
Jessica Lange in Frances... was dramatic and passionate and one of the strongest performances I've seen a woman do.
I'd like to drill in a little more detail into one aspect of cutting which is particularly close to me and that's dialogue editing. It is a vital part of editing especially in animated film, but in the end it is usually completely transparent to the audience. The vocal performances are reported for over several years and the actors are very rarely in recording studios together. That's why the editor has got to all these different performances and edit them together to create the illusion of spontaneity and real action.
I like to set aggressive targets; without them, you will get ordinary performances.
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