A Quote by Guy Pearce
You never really know what the director has got in his mind as far as the scene visually and art direction wise.
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You never really know what the director has got in his mind as far as the scene visually and art direction wise, etc. Even if you do, sometimes there's a side of things that don't necessarily gel the way people intend. So there a bit of a mystical entity, film.
I went to art school, and I studied drawing and video art, and I've always approached music so visually as a result that I found it really difficult in the past to kind of hand off music to another director, 'cause it just ends up being this kind of mid-zone where it's nobody's vision, really.
Don't be afraid of expressing what you really mean in your art, what you really feel. Say it visually, as strongly as you can. Push as far a reach as you can, then go all the way!
I don't know what I'm qualified to do, film-wise... So it's really down to a director or a casting director to find something that they think I could do.
Direction is the most invisible part of the theatrical art. It's not like the conductor in the symphony orchestra performance because he's standing in front of you waiving his arms. You now what he's doing. You don't know what the director is doing unless you know a lot about theater and even then you can only deduce it. You know it when you go to rehearsal. You really know it when they are rehearsing something of yours. I learned more in the rehearsals for The Letter than I have ever dreamed of know in the theater as a critic. If it doesn't make me a better critic, I'm an idiot.
You never know what you do that could be totally out of left field, which actually might work and give something fresh to the whole scene, to the character, whatever. If you have that with a director who then knows how to shape it, either in the direction, in the moment, or in the editing, then that's good.
Every scene has two people who want two different things, so there's conflict in every scene. You've got to duke it out, and you've got to get the other person to change his or her mind and do it your way.
The director could start shooting the fifth scene first. So while giving take for the scene I need to know what I am expected to do in the first four scenes. Sometimes it gets quite confusing and on television you never know when the channel will change the story or dump the character!
The director's job is to know what emotional statement he wants a character to convey in his scene or his line, and to exercise taste and judgment in helping the actor give his best possible performance.
Rewriting isn't just about dialogue, it's the order of the scenes, how you finish a scene, how you get into a scene. All these final decisions are best made when you're there, watching. It's really enjoyable, but you've got to be there at the director's invitation. You can't just barge in and say, "I'm the writer."
My strongest quality as an actor is taking direction. I will give my performance as a template and if the director gives any instruction, I take that information, process it and morph it into the next take. I love the feeling I get when nailing a scene through direction.
Sometimes, when you're on the streets, certain music inspires you, and then you have a vision. But, at the end of the day, it's a synthesis of visions, so you have to think, as a director, of a scene, or how to deliver a line, or how do this visually.
I think one of the things you have to be aware of as an actor is that if you come on the set and see the director standing there mouthing all the words while a scene is going on, that's usually a very bad sign because it means the director has already shot the scene in his head. He knows exactly the rhythm and the nuances that he wants delivered in the line and you're not going to dissuade him.
The average mind requires a change of environment before he can change his thought. He has to go somewhere or bring into his presence something that will suggest a new line of thinking and feeling. The master mind, however, can change his thought whenever he so desires. A change of scene is not necessary, because such a mind is not controlled from without. A change of scene will not produce a change of thought in the master mind unless he so elects.
The director makes the movie. The director has to have the story in their head, has to know the style of the piece, has to answer questions from actors, design, set, lighting, every department throughout the pre-production, production, and post-production, because they've got it in their mind. They've got to know exactly what they want and what the style and story of the movie is. It's them. They make it.
Preposterous ass, that never read so far to know the cause why music was ordain'd! Was it not to refresh the mind of man, after his studies or his usual pain?
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