A Quote by Jonathan Demme

When you're filming, if you can't capture the relationships and interplay, that magical thing that transpires between musicians during a performance, then you're not going to have a deeply interesting film. It's vital.
I have a company in the U.K., a performance-capture studio. We're looking to push the boundaries of performance-capture technology in film and video games, but also in live theater, using real-time performance capture with actors onstage, and combining that with holographic imagery.
Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.
In 'Uncharted,' we do the scenes the same way you would do a film or television show. The motion capture - the performance-capture process - is what makes such a difference for this franchise. So I don't approach it any differently. The other actors and I go in and rehearse scenes together, and then we go in the next day and perform.
Film has a magical process to it. The dailies, and the thing you see on your little film monitor, that's not the same thing that's going to be projected.
Every film that comes out that incorporates CGI or performance capture is a little bit ahead of the last film that came out. You're on the cutting edge for a certain amount of time, and then the new technology comes out.
We had this idea, and I think a lot of people did going in, that you can make some short film and it's going to get industry attention and that's going to be your thing. And it was only later on at school that we realized that's very rare that a short film is going to capture the attention of anyone.
It's interesting going between small parts and then bigger roles where you carry the film. If the writing is good, and if the people involved have integrity, then you'll do it, even if it's only five minutes on screen.
My belief about performance capture is that it's a technology which allows actors to play extraordinary characters. But from an acting perspective, I've never drawn a distinction between playing a conventional, live action character and playing a role in a performance capture suit. And from a purely acting point-of-view, I don't believe there should be a special Oscar category because I think it sort of muddies the waters in a way.
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
In a film, if you can capture what's going on underneath, you can begin to make a connection between the character and the people watching it.
The great thing about performance capture is you can go off, and then, without changing costume, you can become another character.
There is an interesting interplay between power corrupting and corruption empowering. The causality does not go one way.
When you're young, you think that clothes are almost magical, and that if you wear the right thing - to school, to the prom, on the date, etc. - something's going to happen. Black, it's the anti-magical thing. It comes from the recognition that it is not going to be 'the' dress.
What transpires for the least significant member transpires at once for the whole.
Performance art is going to be the future. Plays on Broadway are so restricted. But performance art is like haikus, just one line thing. And it's more casual but more interesting.
I've realized that the only thing I'm interested in is the performance. If the performance is right, then I'm happy. You offer up the dialogue and then the performance comes around.
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