A Quote by Jed Mercurio

One of the things I learned on medical drama 'Bodies' was that actors can't play ambiguity. — © Jed Mercurio
One of the things I learned on medical drama 'Bodies' was that actors can't play ambiguity.
If I had to fall in love with all the actresses I play with and live the situations I have to play, I would be lost ! I need to be solid and know who I really am to have fun in making something else. I noticed, while talking with other actors, that they often let ambiguity float. I don't like ambiguity, it's dangerous. I need distance. I also think that the result would prevent the audience from identifying to the characters. If you feel the things too strongly, you simply close the doors.
In 'Bodies,' we had a lot of gore because it was a medical drama. The gore was authentic.
Nothing in medical literature today communicates the idea that women's bodies are well-designed for birth. Ignorance of the capacities of women's bodies can flourish and quickly spread into the popular culture when the medical profession is unable to distinguish between ancient wisdom and superstitious belief.
To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.
I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries.
I capture reality, never pose it. But once captured, is it still reality? I've always tried to play with the false impression of reality, with the ambiguity of appearances. Things are what they seem to be, or maybe something else. I use people as unconscous actors in little dramas they don't know they're in. These pictures are about Earthlings, but I'll let you in on a secret: I'm an Earthling myself.
You just find the best actors that you can. There's an inherent drama within the framework of scares and killings and all that. In 'Scream,' there is very real drama that would be in almost any drama.
Screw ambiguity. Perversion and corruption masquerade as ambiguity. I don`t trust ambiguity. John Wayne
Actors only have our bodies, voices, and the text. So I think actors need to have a fit and in-tune body. I was always very disciplined in wanting to have that. Thats one of my favorite things - playing a role with a physical requirement.
Obviously, once you're finished, you're like, "Okay, I have to make this a movie now, and I need people - bodies to play these parts, and actors to bring this thing beyond a script." But when I was writing it, I wasn't thinking of actors; I was really thinking about creating three-dimensional characters.
Medical need is an infinitely expandable concept. There is always one more marginal procedure that can be done. There is no end to the medical and surgical treatments that a technologically sophisticated and advanced society can give to aging bodies.
Acting is many things, and one is an exercise of will. In any given scene, you're trying to find where the drama and conflict is and then deploy the actors to play at that point of conflict with precision, control, and complete will.
No single person, including the President of the United States, should ever be given the power to make a medical decision for potentially millions of Americans. Freedom over one's physical person is the most basic freedom of all, and people in a free society should be sovereign over their own bodies. When we give government the power to make medical decisions for us, we in essence accept that the state owns our bodies.
I literally grew up in drama. I used to watch drama - the catharsis of the play - then see drama at home.
'Cardiac Arrest' was the first British drama to use a lot of medical jargon. 'ER' began the following year and was the first American drama to do that.
I learned about a lot of things in medical school, but mortality wasn't one of them.
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