When you're flying off soft keys on a touch screen it's a totally different feel, and a lot of muscle memory is lost. There is that delay when you look at the screen and input a command before it's executed, versus something instantaneous when you move the stick.
I want to touch the world through my performances on screen but also off screen.
Nintendo looks at every technology. Often times, we look at technology before it really is considered mass-market ready. The original DS had touch screen on a device. First time that a mass market product had touch screen built in.
My job with Sue on 'Bake Off' was to look after the bakers - and to be honest, a lot of that was done off screen as well as on screen. It's very much the same on 'Let It Shine.' You get to know people, you get involved, you want things to be alright.
I said the screen will kill the reader, and it has: the movie screen in the beginning, the television screen, and now the coup de grace, the computer screen.
Most filmmakers looked at it as a medium to palm off sub-standard stuff. I don't look at it like that. Your TV screen, mobile screen is as relevant as a cinema hall.
The Real is ever-present, like the screen on which the cinematographic pictures move. While the picture appears on it, the screen remains invisible. Stop the picture, and the screen will become clear. All thoughts and events are merely pictures moving on the screen of Pure Consciousness, which alone is real.
Animation translates well to a small screen. When you look at Walt Disney or Chuck Jones - you know, Bugs Bunny - there really isn't any difference if you watch on a very big screen or a computer screen.
Tony, Stacy and Jay really looked at life completely different and that played into everything that they did, whether it was skating or with their friendships. And for the three of us, we had such a close relationship off screen, that it was so easy to have that on screen.
I feel like my job as a storyteller and director is to create an experience where the audience forgets they're in a cinema and can get lost in the story. Things popping out of the screen call attention to the artifice of what you're doing, so I use 3D as more of a window into a world behind the screen.
With any good projects, I feel like the off-screen chemistry factors on-screen. It's great when you don't have to force it, but when it's not there, you better focus on getting there because, as we live with these characters, we spend more time with one another than we do our families at home.
With any good projects, I feel like the off-screen chemistry factors on-screen. It's great when you don't have to force it, but when it's not there you better focus on getting there, because as we live with these characters we spend more time with one another than we do our families at home.
I'm a sorcerer because I start with nothing, and then, eventually, there is something. And I touch you, I move you, I make you laugh or cry, and you believe in what's happening on the screen, although I always show it's invented.
On screen chemistry can be very different from off screen chemistry.
So I studied a lot with the balloon, and in learning how to sing with other musicians and keep in time - that's all by touch. A lot of that I feel in my body, and growing up with hearing I have pretty good muscle memory, and I was born with near perfect pitch.
What happens off-screen definitely informs your performance on screen.
An actor's off-screen persona should never overshadow his on-screen characters.