A Quote by Jon Polito

You can't act alone. Use the props, the setting, the crew around you, and of course, your fellow actors. — © Jon Polito
You can't act alone. Use the props, the setting, the crew around you, and of course, your fellow actors.
An actor has to be very, very careful, as one of the most wonderful props - and actors love props - is a cigarette. There's so much to do with it: you can bring it up to your face, play with the smoke. It's just the greatest - ever since I was 16 and in acting school in England, I've been playing around with cigarettes.
Alex Zamm is probably the most talented director I've ever worked with. He is so good at working with actors and crew and setting up his shots.
I am a smoker, I'm ashamed to say. I had given it up for many years, then picked it up again. It's a horrible habit. I struggle with myself all the time. And I love to smoke. An actor has to be very, very careful, as one of the most wonderful props - and actors love props - is a cigarette. There's so much to do with it: you can bring it up to your face, play with the smoke. It's just the greatest - ever since I was 16 and in acting school in England, I've been playing around with cigarettes.
If you fill your time as a director talking about lights and technique with the crew then it's frightening for the actors to be left alone. Somebody has to keep them safe from the mess that is the machinery.
Own only what you can always carry with you: know languages, know countries, know people. Let your memory be your travel bag. Use your memory! Use your memory! It is those bitter seeds alone which might sprout and grow someday. Look around you - there are people around you. Maybe you will remember one of them all your life and later eat your heart out because you didn't make use of the opportunity to ask him questions. And the less you talk, the more you'll hear.
While voicing animations I use the same acting muscles, even more because you have to channel all into your voice, whereas when you're live-action you get props and scenery and other actors and your facial expressions and what happens to help you. It's not necessarily easier as an actor to do voice-overs, it's easier as a person.
The relationship with the cast has everything to do with how a performance develops, and in a sense that while you're discovering a play in the course of rehearsal with the director, you're also discovering it with your fellow actors. We're all in it together.
So, for me, I make no difference whether I'm training with my shuttle crew or the Expedition crew. Of course, I think I want to take more care of the Expedition crew, because they're going to stay there for a long time.
Some directors are really strong on action, manhandling you around the set; others are very focused on setting up the camera shots and practically ignore you. You have to get used to introverts, extroverts, directors who clown around for the crew, and the odd one who's monosyllabic.
If there's a cutaway, you need to get it then because it's only going to last [a few moments]. You have to edit the movie as you're shooting it in your head and communicate with your crew about how it's going to work. While making a movie, you have the luxury of storyboards and a script and a bigger crew and actors. I mean, it's so much easier.
It's hard to act terrified when you have 200 crew members around you.
I have to give the SNL crew props - it cannot have been easy to work with me.
Skills rest in your mind not in the props you make use of.
Yes, of course. But ... how?" Kat felt her crew around her: Hamish's arm hung around Simon's shoulders; Gabrielle's delicate hands draped through the arms of Angus and Nick. Kat's own hand found Hale's, then, fingers interlacing, palms pressing together so tightly that Kat knew nothing could come between them. Nothing. She looked at him. No one. "It's easy," Kat said, "when you don't have to do it alone.
The truth is James Cameron can do every other job. I'm talking about every single department, from art direction to props to wardrobe to cameras, he knows more than everyone doing the job. But he can't act. And therefore he is in thrall of actors.
Your crew becomes your family and you trust the director and the other actors on the set, and it's a very safe place.
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