A Quote by Eric Bana
I get inhabited by a character and then you mourn it. There's a period of mourning for me, definitely.
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That's why it's hard, I think, to rejoice with those who rejoice and mourn with those who mourn. I love that line from the Bible, but it's so incredibly difficult sometimes, because when you've got reason to rejoice, you forget what it's like to mourn, even if you swear you never will. And because when you're mourning, the fact that someone close to you is rejoicing seems like a personal affront.
Thine eyes I love, and they, as pitying me, Knowing thy heart torment me with disdain, Have put on black and loving mourners be, Looking with pretty ruth upon my pain. And truly not the morning sun of heaven Better becomes the grey cheeks of the east, Nor that full star that ushers in the even, Doth half that glory to the sober west, As those two mourning eyes become thy face: O! let it then as well beseem thy heart To mourn for me since mourning doth thee grace, And suit thy pity like in every part. Then will I swear beauty herself is black, And all they foul that thy complexion lack
After 'Orange' wrapped and my character wrapped, I felt like I went through a bit of a mourning period.
There was a period of time early in my career where I was like, 'I'm gonna definitely fight. I definitely want to be a part of this lifestyle.' Then there was a period of time where I had so much success in the sport of wrestling, and I was like, 'I don't really need fighting.'
Irrespective of age, we mourn for those loved and lost. Mourning is one of the deepest expressions of pure love.
During the mourning period after my father passed, his friends and colleagues were saying there was no way the business would survive. There was no way that a 27-year-old woman could run a company. I was so pissed that this was a conversation during a mourning period, and that a woman who was educated and working at a high level at the company wasn't considered for leadership. This was my father's life work, something I was completely connected to, and I knew I could take the reins.
The house, while sound in wind and limb, was described as being of 'no character.' We didn't think then that it had anything but character, rather sinister perhaps, but definitely character.
I like to read Octavia E. Butler's 'Wild Seed' over and over again. And J. California Cooper's 'The Wake of the Wind.' That one makes me cry from joy. I'll mourn - I'll actually mourn - and then I'll cry from joy. She's wonderful.
New Orleans taught me that mourning takes many different forms. Where I'm from, mourning is spirited. It is loud.
... the man took my passport and asked me the purpose of my visit, I wrote in my daybook, 'To mourn,' and then, 'To try to live,' he gave me a look and asked if I would consider that business or pleasure, I wrote, 'Neither.' 'For how long do you plan to mourn and try to live?' I wrote, 'For the rest of my life.
For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.
What is required to face trauma is the ability to mourn, fully and deeply, all that has been taken from us. Only through mourning everything we have lost can we discover that we have in fact survived; that our spirits are indestructible.
There is nothing to be compared to this, 'cause we lost our brother, our hero. The world is mourning. We are mourning. The fans are mourning. It is unreal. Unbelievable.
I think often times on Joss Whedon's shows he can make you hate a character for a period and then love the character. He does it effortlessly.
I begin with understanding the intentions of the story. That helps me to zero in. Then I gather research for each individual character and analyze the time period with comparisons to the figure and the facial structure. It helps to be comfortable with computers because the massive amount of research is kept electronically and shared with my staff this way. Very little is printed out. I work with an illustrator to come up with the proper silhouettes and details of the clothing from the time period to time period. And on and on.
It took me a long time to film the plastic bag, and then I had to get the cut of the scene right. But if you find it as beautiful as the character does, then suddenly it becomes a different movie, and so did he as a character.
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