A Quote by John Cameron Mitchell
It's the weird thing that actors do: You jumped across that building because the scene required it.
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I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
A lot of really good actors are able to go straight from life to their work. They don't treat it as something that's an unattainable, weird thing that they have to aspire to and reach for in a scene.
I love that process in which there is no safety net. Then the actor also can allow mistakes, because there's no such a thing as a mistake. You're working with good actors, that thing that starts as a mistake becomes actually the life of what is going to follow in the scene. I find that it is fantastic, and for me it is easier than for the actors.
The running across the field thing, that was the first scene we shot in the movie. We asked the audience to stay for the scene, and 37,000 people stayed.
At least 50 times. I've jumped off a building, jumped off a cliff in a car. I've been in bedrooms when women came in with knives and guns.
A lot of actors try to sabotage other actors, and that's sad because then you're never going to get that beautiful scene.
I'm so weird with women. I couldn't go up to a gorgeous woman and tell her the building's on fire. 'Don't take this the wrong way, uh. I don't mean to be weird and I'm not trying to be creepy, but the building's on fire.
My first scene ever on camera was a dinner scene and I ate all the food. They yelled cut and the actor across from me was like, 'You know you're going to have to eat the same thing every single time.' I learned the hard way.
There were hard days when you'd be screaming for hours and then the next day, you'd have a scene where you were just talking and because your voice was so stretched out from screaming for five hours, it would sound weird. It required a lot of adrenaline, too, so you have to be able to turn it on all the time. You felt a bit thin at the end of it, just depleted.
I think there's that weird bastardization where musical theatre actors are treated as almost like vaudevillians or circus performers - that we're somehow not good actors because we sing and dance.
Don't start a scene where two people are talking about jumping out of a plane. Start the scene having already jumped. If you are scared, look into your partner's eyes. You will feel better.
Chemistry's a weird thing. You can see actors who are friends in real life but have no screen chemistry. Then there are actors who don't get on but have great chemistry.
I want to attack and to lead my life with vigor, but I'm in the watching stage at the moment. Younger actors feel pressure to bring a pop to every scene; as the roles get bigger, I'm finding you can add layers and do less scene-to-scene.
Film has to be reflecting the world that we live in, and that's all you want to be a part of. Actors inhabit the same planet as everyone else. It's a weird thing that happens when you're an actor because people hold you up because you somehow embody in parts groups of people or people's hopes or something.
Every film requires a different process. You learn about these particular actors and the particular chemistry between these actors. Recognizing when you don't need to shoot a scene because it's going to be cut anyway.
But when there were certain moments or scenes that required a very specific nuance or performance, I myself would act out the scene or the sequence and that would inspire the actors. Of course, I can't really express emotions on camera, but I was very active in showing a certain action or a blocking for an actor. I would also participate in certain stunts myself and because of that, I would get bruises or cuts on my knees and elbows.
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