A Quote by Joseph Marie, baron de Gerando
In the scenes of moral life the soul is at once actor and spectator.
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If 'Spectator Business' works, we will continue this brand extension strategy and look at everything from 'Spectator Arts' to 'Spectator Style and Travel' or 'Spectator Connoisseur.'
In the scenes I try to be a giver as much as possible, giving the other actor something to work with. When not in the scenes I will stand in for eye lines to help the other actor with delivery and hopefully performance.
To be an actor and a director, I actually felt it helped me tremendously to be in the scenes of The Hollars, because as you can see, they're very intimate, very intense scenes. You don't want to break the actor's character and you don't want to break their momentum, so as the actor, I tried not to call cut as much as I could, and almost make it feel like a play, just set this environment where these amazing actors could do what they wanted to do.
Adam Smith's image of competition in the marketplace was intended as an adjunct to his detailed description of human motivation in The Theory of Moral Sentiments , in which the pursuit of profit is tempered at every juncture by sympathy and benevolence, and by the posture of the "impartial spectator" which is forced on us by our moral nature.
A champion plays the game; a spectator observes, criticizes and never really gets to live. A champion knows what he or she wants and goes after it with carefully calculated goals and no-holds-barred action. A spectator feels that his or her life is not their own. They let others dictate their destiny. They become victims of life instead of masters of it.
Editing is not merely a method of the junction of separate scenes or pieces, but is a method that controls the 'psychological guidance' of the spectator.
Cinema builds memories; great films continue to exist in the spectator's mind. We are naturally capable of and prone to nostalgia. A spectator will reconstruct a film he or she has seen, years later, and may even change their original opinion. One critic, for example, once gave the finger to one of my films; later he wrote me to apologize.
I had said bye-bye to acting, in a way, but once an actor, always an actor. Life has got other plans for me. Like, I did not want to be an actor - I wanted to be an architect or astronaut - and 'Daddy' happened, and the rest is history.
I'd prefer to include sex scenes alongside the adventure scenes and everyday-life scenes, as if they were all part of the same thing. Which of course they are. Sex is not discrete from the rest of our existence.
Let me completely condemn these sickening scenes; scenes of looting, scenes of vandalism, scenes of thieving, scenes of people attacking police, of people even attacking firefighters. This is criminality pure and simple and it has to be confronted.
Asim has done English theatre with Naseeruddin Shah and his group, Hindi theatre with Makarand Deshpande, and Marathi theatre with me. He is a hardworking actor - I am not saying this just because he is my son but as an actor and spectator.
The traveller's-eye view of men and women is not satisfying. A man might spend his life in trains and restaurants and know nothing of humanity at the end. To know, one must be an actor as well as a spectator.
Beware, my body and my soul, beware above all of crossing your arms and assuming the sterile attitude of the spectator, for life is not a spectacle, a sea of griefs is not a proscenium, and a man who wails is not a dancing bear.
In Paris, everybody wants to be an actor; nobody is content to be a spectator.
I understand, certain scenes have to have a lot of takes. As an actor, I think it's quite nice to have a handful of takes, because you don't want to do it once or twice; I think once or twice sometimes is quite terrifying because you don't really feel like you've given them what you want.
What happens so often as an actor is that you retain the information about the scenes that you yourself shot and you obsess over certain scenes that you found the most challenging or interesting. The rest of the film kind of falls away in your memory or it fades a little bit.
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