A Quote by Kelly Masterson
I certainly like the actor to have as much lee-way as possible. In the same way that director Bong was generous enough to let me create, you have to do that for actors, as well, and let them use the tools they have, and part of that is their own brains and their own words.
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An actor uses his body as a tool and an instrument. In the same way a musician plays an instrument, the actor uses his body to convey feeling and emotion. An animator uses a pencil or a computer to create the same thing, the same exact way... An actor is taking words that are not his own, and he has to bring some kind of authentic life to those words. It's the same goal, to create this authentic life. Even if it's a drawing, or if it's a cartoon, you're still trying to create authenticity because, if the character emotes authentically, it has a power to connect with the audience.
Creating my own roles, as an actor, is great. You're so at the mercy of other people, and you're waiting for a job. That's just a horrible way to live, so I just decided to take matters into my own hands, find my own projects, and create them myself, and then do other stuff that people might throw my way as well.
I get so much inspiration from my travels, but I also started an exercise where I write down so many words every week. Then I begin crossing them off. We create a grid of words and also images, but words for me are more ample because you can interpret them your own way.
The thing with animation is that you record the actors like a radio show and then the animators become actors in their own way because it's their job to take this puppets and make them seem alive. They bring their own personalities to the way they move these puppets.
We use the same possessive pronouns for everything, but do we own our lives or sisters or husbands in the same way we own our shoes? Do we own any of them at all?
Some feminist critics debate whether we take our meaning and sense of self from language and in that process become phallocentric ourselves, or if there is a use of language that is, or can be, feminine. Some, like myself, think that language is itself neither male nor female; it is creatively expansive enough to be of use to those who have the wit and art to wrest from it their own significance. Even the dread patriarchs have not found a way to 'own' language any more than they have found a way to 'own' earth (though many seem to believe that both are possible).
It's the way I make music, I will take two ideas and smash them together and if they sit well together for me then that's fine, and it's the same with the lyrics - if I see a couple of lines and I like the way they look on the page then I'll use them. I find they take on a meaning of their own, it's very difficult to explain how I actually go about all that.
I'm not trying to create an aesthetic that's my own; I'm trying to create a way understanding things through drawing and painting. That's the common thread. Things can look different, but that's not what's important. What's important is the process is the same, the ideas are the same, I'm using the same building blocks, but they're different. The larger framework is the same; it's the pieces that change. For me, it's about these different elements, but you're still fitting them together into sentences, words, paragraphs, and stories.
In my films, I like to use the same actors again and again, so I know them really well and can bring their unique personalities into the process. However, as a director, I have strict control over the way they express their personalities. I don't want them to go beyond what I need from them, but I also don't want them to underplay. So I modulate their performances very closely, within a certain range of expression.
Individuals are certainly interested, at times, in having their own way, and their own way may go contrary to the ways of others. But they are also interested, and chiefly interested upon the whole, in entering into the activities of others and taking part in conjoint and cooperative doings. Otherwise, no such thing as a community would be possible.
I don't care. People here have to find their own way, negotiate for themselves, use their own brains.
One casting director told me, 'You're the next Leonardo DiCaprio,' and when I heard that, I said, 'Let's talk about how I don't want anything to do with being like Leo.' He's an amazing actor, but the films we're pushing to do are different. I'm going my own way--in a big way.
I want an actor to try to give me what I ask in the best and most exact way possible. He mustn't try to find out more, because then there's the danger that he'll become his own director.
Every child has a right to its own bent. . . . It has a right to find its own way and go its own way, whether that way seems wise or foolish to others, exactly as an adult has. It has a right to privacy as to its own doings and its own affairs as much as if it were its own father.
For me, as an actor, it's always about getting out of my own way. I can put so much pressure on myself to keep up and make my director happy instead of being in the moment.
If I can get out of the way, if I can be pure enough, if I can be selfless enough, and if I can be generous and loving and caring enough to abandon what I have in my own preconceived silly notions of what I think I am - and become truly who in fact I am, which is really just another child of God - then the music can really use me. And therein lies my fulfillment. That's when the music starts to happen.
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