A Quote by Edward Norton

You dream as an actor's director of letting moments breathe through two-shots. — © Edward Norton
You dream as an actor's director of letting moments breathe through two-shots.
An actor's performance can be improved or shaped - or ruined - by what takes you use, how long you are on the actor's face, what line you put on the other actor's face, and when do you use close-ups or wide shots or two shots.
When there's an actor involved, the actor's talking to the director or the director's talking to the actor. But when there are not those two people interacting, it's all one person in your own mind, you have to be so extra-clear about what you need.
I love the variety of films. In theater, you go into a room and the director runs the room, so you all work to his or her method. On film, if an actor or an actress is in for a day or two, the director has to get out of that actor what they need, so they have to change and adapt to that actor's technique.
I'm very old-school. I like a director to direct me. I like to be the actor. I'm not particularly fond of the hybrid writer-director, or actor-director. Writers, directors, actors are all such very different people. I think it's unusual that two of those people are in one human.
I just realized that I need to be a director - for two reasons. One, directors were already my heroes at this point. I wanted to; when I wanted to be an actor I wanted to work with this director. Not work with this actor, I wanted to work for this director.
For me, romance is only 'true' when there are two sides to it. I think to have true romance you have to have the moments where you feel alone and you're crying and you feel like your heart's about to break... as well as the moments where you're floating through this orgasmic dream state.
Just someone trying to shoot in 70mm deserves the nomination, and he[Quentin Tarantino] is shooting interiors, like tight interior shots, for that matter. Obviously [Quentin] is the director and demanding the shots, but all credit for the beauty of that film [Hateful Eight] goes to the director of photography.
Whenever I am in front of the camera, my hair goes through a lot of harsh styling. But I ensure that my off-camera time is all about letting my hair down, taking it easy and, of course, letting my hair breathe!
An actor puts himself in the hands of a director. And the director's first responsibility, obviously, is to tell the story, but the smallest thing that's not true reads on the screen. So if a director sees that an actor is not believable, he needs to help him become believable.
Pull and sweep are two shots which can help me score runs outside India. These are two shots that can immediately put pressure back on bowlers.
For me, some of the happiest moments on a live-action film are the awkward moments. One actor says something to another actor. They didn't expect that performance from that actor; that affects their return performance.
My dream job is definitely to be an actor/director/writer, all three.
The only way you will ever awaken is through silence, not through analyzation of facts. Not by sorting out good and bad, but through simple silence, letting go. Letting go of all thoughts, all the hurts, all the dogmas and concepts. Letting go of these things daily.
We breathe the light, we breathe the music, we breathe the moment as it passes through us.
My attitude as an actor, because I'm a stage actor, is whatever the director tells you to do, you try it. You don't resist what a director is giving you.
'Hanna' was nice. It was Saoirse Ronan's idea. Usually, the director casts the actor, but in this case, the actor cast the director.
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