A Quote by Ian Mckellen
I'm not experienced enough, or certain enough of my acting on the screen to say to a director, "You are wrong, I am right. I will only do it this way." I could never feel that, I wish I could be absolutely certain. But on the stage, it's different. I know where I am on the stage.
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If I am in a certain mood, and I want to feel a certain way, I will pop on a certain color of lipstick, and it makes me feel entirely different.
I used to feel that if I say something's wrong, I have to say how it could be made right. But what I learned from Kurt Vonnegut was that I could write stories that say I may not have a solution, but this is wrong - that's good enough.
My wife totally backs the way I am on stage; that's one of the amazing things about her. I have 120 per cent respect for her when I'm on stage, so there are definitely certain things I would never do.
The really funny thing is that most all of my friends who are priests have seen me perform, and they say, 'I wish I could talk the way you do on stage. I wish I could reveal truth to my congregation the way you do.'
Instead of making others right or wrong, or bottling up right and wrong in ourselves, there's a middle way, a very powerful middle way...... Could we have no agenda when we walk into a room with another person, not know what to say, not make that person wrong or right? Could we see, hear, feel other people as they really are? It is powerful to practice this way..... true communication can happen only in that open space.
All modesty aside, I think I'm good at reading scripts. The way I read a script is as fast as I can, all in one sitting, and I don't read many of the stage directions. I only read enough stage directions to let me know where I am, because they're always so verbose and mostly horseshit. So I only read the dialogue, which allows me to see the movie in my mind's eye in real time.
I have been parts of some films in the South where I didn't expect certain shots to be shot in a certain way. I wasn't experienced enough; I was very naive. I didn't have the standing of an actor to say that I don't want to do this shot.
If my role requires a certain kind of dialect, which I think I am not confident enough to do, I'd prefer a dubbing artist then. There shouldn't be a selfish motive, and it's always better to have a certain understanding between the director/producer and the actress.
I am honestly very intimidated when I meet new people and they expect me to be the onscreen Vir. On stage, I say a lot of things I might never say in real life; I am never the life of the party. People are quite surprised to see that I am more of a quiet artiste off stage.
When I'm on stage, I'm not me playing me. I'm somebody else doing me. I could never go on stage and be like, "Hey, I'm Mike Tyson. My mother and father was in the sex industry." That's the politically correct way to say it, but I would really say, "My mother and father were pimps and whores. This is my life." I could never do that as Mike Tyson. Because I'd feel sorry for myself. But if I could be objective about it and be somebody else, portraying Mike Tyson, saying this story, then it's easy sailing.
My lord...I can explain-," Louis-Cesare began, looking less than certain that he could do anything of the kind. Radu held up a hand. "I am sure there is a perfectly good reason why my niece is naked and tied to her bed. I am also equally certain that I do not wish to hear it".
I am very good at comedy off screen. I wish I could translate it so that you could get to see how mad I am.
My whole life at a certain point was studio, hotel, stage, hotel, stage, studio, stage, hotel, studio, stage. I was expressing everything from my past, everything that I had experienced prior to that studio stage time, and it was like you have to go back to the well, in order to give someone something to drink. I felt like a cistern, dried up and like there was nothing more. And it was so beautiful.
I've learned when to get out. I've never wasted too much time with the wrong person, and that's one thing I'm proud of. The longer you're with the wrong person, you could be completely overlooking or not having the chance to meet the right person. And if it doesn't feel right, it isn't right. How do you know if something feels right? I think the great defining factor for me is whether I want more. When they drive away, do I wish they would turn around at the end of the street and come back? Or am I fine that they're going home?
From my side, I don't put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director - that way, I think, I don't get to do the similar roles.
That if you could acquire enough, accomplish enough, you’d never want to own or do another thing. That if you could eat or sleep enough, you’d never need more. That if enough people loved you, you’d stop needing love.
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