A Quote by Julianna Margulies
I'm always aware that there's a trick to television to prevent an actor from becoming too lazy. Once you become too familiar with a character, it can stifle the adrenalin from flowing through in the performance.
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When people are too present, too familiar or too in our face, something happens to us psychologically. We begin to tune them out, we begin to get sick of them, we begin to know them so well and become so familiar with who they are that we loose a bit of respect for them. You pass a certain threshold with the fact that you're too present in their lives, too much in their face and once that threshold is passed you're never going to repair it they have lost a certain respect for you.
I always worry that me by myself, I'm doing the same thing I'm always doing and become too lazy and conservative in what I do, or too incestuous in my own thoughts.
For me, the intellect is always the guide but not the goal of the performance. Three things have to be coordinated, and not one must stick out. Not too much intellect because it can become scholastic. Not too much heart because it can become schmaltz. Not too much technique because you become a mechanic.
There's always some extent of luck going into getting a job. I try not to think too much about my own looks or how I work. There's a danger in becoming too self-aware.
When I am writing poetry, I try to make my mind go a little lazy, to not think too much, as a way of opening up the part of the brain that makes poems. If I'm successful in this part of the process I'm often not. If my mind gets too lazy it will linger in familiar boring territory, it's like my mind can stroke the physical world.
I want to avoid becoming too styled, too 'done' and too generic. You see people as they go through their career, and they just become more and more like everyone else. They start out with something individual about them, but it gets lost.
I want to avoid becoming too styled, too ‘done’ and too generic. You see people as they go through their career, and they just become more and more like everyone else. They start out with something individual about them, but it gets lost.
When the Kundalini crosses the Agnya, you become thoughtlessly aware. Thoughtlessly aware means, you are aware but there is no thought. You become silent. When it crosses the brahmarandra then the vibrations start flowing through you, and you get cool vibrations.
Sometimes perception is almost more important than the skill level of an actor. And if you give too much away, you have nothing to take for yourself and put onscreen. If people feel like they know you too well, they won't be able to indentify with the character you're trying to portray. Or they'll feel that you're just playing yourself, and then you just become a personality actor. And that's the death of any actor.
At Wal-Mart, a co-worker once advised me that, although I had a lot to learn, it was also important not to "know too much," or at least never to reveal one's full abilities to management, because "the more they think you can do, the more they'll use you and abuse you." My mentors in these matters were not lazy; they just understood that there are few or no rewards for heroic performance. The trick lies in figuring out how to budget your energy so there'll be some left over for the next day.
I just like watching people who really are not self-conscious, who aren't aware, because I fear that one could become too self-conscious, too artful, as an actor. Sometimes if you look at somebody, you can extrapolate from their exterior what might be happening in their interior. I'm nosy.
It's weird, not to sound too actor but I think that any time you do a performance, you kind of take a little piece of that character, cause it's a part of you you're using.
I don't want other people to decide who I am. I want to decide that for myself. I want to avoid becoming too styled and too 'done' and too generic. You see people as they go through their career, and they just become more and more like everyone else.
Once you become a professional, to get through a ballet like 'Swan Lake' - four acts as the lead, changing character - the perseverance is incredible. It takes a lot to make it through and keep the same energy throughout the entire performance.
I actually cut my sentences a lot. I'm very aware of the actor, giving them too many words - just a mouthful of words - it's difficult sometimes for an actor. So I'm kind of aware of breaking sometimes the line, the sentence with a comma where maybe there wouldn't be a comma there. Just to give a breathing space for the actor, just to be aware of that.
I was too lazy to read, and I was even too lazy to imagine scenarios drawn up by the pictures. They just suggested a flavor to me. I swallowed them whole, like hosts. It was a form of worship.
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