A Quote by Frances McDormand
I'm trained in the theater, and acting, for me, is about the imaginative life I create for myself, not about basing it on something real. I think that whatever I create becomes the reality for the audience.
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Reality is not so much what happens to us; rather, it is how we think about those events that create the reality we experience. In a very real sense, this means that we each create the reality in which we live.
Whatever comes to us in life we create first in our mentality. As the building is a reality in all its details in the architects mind before a stone or brick is laid, so we create mentally everything which later becomes a reality in our achievement.
I create music; I create painting; I create whatever I want to create. I create, what you say, clothes. I create, I don't know, dance move. I create anything.
I've always really liked theater. It fascinated me. You can create a reality and get people involved in that reality. It takes place in real time.
But the acting process - create a human being - was real, not only to the audience, but real to me.
When you play arenas you can create whatever you want. At a theater the height of the stage and the limitations of the theater can make you feel more separate from the audience.
The 20th century was all about hierarchies: if you want to create something, if you want to start a country, create a product, whatever it is. Your goal is to create a highly efficient hierarchical model, scale it, because that's what the competition's doing.
I think about the audience in the sense that I serve as my own audience. I have to please myself the way, if I saw the movie in a theater, I would be pleased. Do I think about catering to an audience? No.
In anything really, it's finding the reality. You can't be 'real,' but you can create a reality. And that created reality is what the audience believes in. And that's essential. Because if the audience doesn't believe that, they're never going to trust you. And if they don't trust you, you can't lead them up the mountain.
The thing about Marvel is that they're not - they're into real acting. They're looking for artists that are willing to take chances and are willing to create characters. Even if that character has been around for years and years in comic books, they still are depending on us to create something and take it somewhere else.
I am not afraid of beauty, unlike most artists today. The pollen, the milk, the beeswax, they have a beauty that is incredible, that is beyond the imagination, something which you cannot believe is a reality-and it is the most real. I could not make it myself, I could not create it myself, but I can participate in it. Trying to create it yourself is only a tragedy, participating in it is a big chance.
Civilization consists in giving something an unfitting name, then dream about the result. And indeed the false name and the real dream create a new reality. The object really becomes another, because we turned it into another one. We manufacture realities.
Chicago theater vs. New York theater. There's just nothing to say about it really. If you've seen Chicago theater, you know that the work is true to what is there on the page. It's not trying to present itself with some sort of flashy, concept-based thing. It's about the work, and it's about the acting you're about to watch. So acting-based theater feels like it was born there to me.
I try and create for the audience something that relates to real-life experience.
I knew there was something special about the theater for me something beyond the regular reality, something that I could get into and transcend and become something other than myself.
When we make films - even 2D films - you're always trying to create this illusion of 3D, anyway. You're trying to create a believable world with characters walking, in and out of the perspective, to create the illusion that there's a world. The desire and drive to create this illusion of three-dimensional space is something that is true about every kind of film because you want the audience to really be experiencing it, first hand. It's a natural extension of the storytelling and the process of filmmaking.
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