A Quote by Kristin Lehman
The only way to really portray a character and tell a story well is to be flexible internally. And one of the ways we're blocked as actors is being aware of where our bodies are carrying tension.
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You have to find the tone of the piece and modulate that. There are ways to indicate that - I try to incorporate the biggest range I can within the story, going from humorous to serious without it being jarring. That's the hardest part, to keep that balance. It requires being constantly aware of where you are in the story. You can't really do that in a movie: You can't slightly modulate the tone by the way the character's eyeballs look in one certain scene.
Violence is used to portray what happens in a film. It only helps portray the actors and what they do. I think it is more about the story, when you have something to play off of.
There is a shortage of hard R. It was the story and the character. He's never played a character like this and so that was the thing that really won him over. The story itself, on the surface - Patrick and I love actors almost in a geeky kind of way.
I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.
The most exciting thing I've seen is directors not only being open to actors coming in the room with different abilities but actively looking at ways that the story can be enlarged with disabled actors.
The inspiration really comes first from the character and the story. That vision of what the story is, and what the character is, the world that they inhabit and what the story wants to tell. That's really what inspires me.
If the right idea comes up, and it feels true to talk about somebody being in a truck, and that's the only way to tell the story, then I will reluctantly tell the story that way.
My only want and wish, really, was to tell a good story. I wanted to do good work, tell a good story, and give the character a voice. Those were my only expectations.
Music helps define the character and is an extension of the character somehow, so that you are able to use both the songs themselves and the way that you sing them to tell something about the character and his story, as well as develop a performance style.
It`s always been the same for me. I`ve always enjoyed acting, and I really love good actors; they`re such unique characters. I wish I could tell stories well, or tell a joke. Any time someone can do that it`s so satisfying. Sean Penn, for instance, is a really good actor, and he can tell a good joke or story. But it`s hard to do. Most actors have special talents that make them attractive, but they`re often odd characters.
All we have is the story we tell. Everything we do, every decision we make, our strength, weakness, motivation, history, and character-what we believe-none of it is real; it's all part of the story we tell. But here's the thing: it's our goddamned story!
Body adornments show that we're aware of our bodies and expect others to be aware as well.
Kim's' gave me my first opportunity to portray an Asian character with significant story arcs and subtleties that most Western Asian actors can only dream of. The show was integral in allowing me to find my voice and shape the perspective and platform that I now have.
You have to figure out who the right person is to tell the story. And often, people who are very self-aware will only sound as if they are pontificating if they tell the story.
I have got my story. Adoptees rarely get our stories. We only know what we are told. I don't even have my story, really. My mother won't tell me. She won't tell me who my father is. She won't tell me the story of my birth.
I always knew from the beginning that this was the only way to write Then We Came To The End - that it had to be in first - person plural if it was going to illustrate how the individual becomes part of the collective. I had no interest in writing the book in a more conventional voice. It goes back to that fascination I had with telling a story in multiple ways. It was the only choice I gave myself, really - I said "This is it, pal. If you can't tell a story this way, you're going to have to abandon the book. Write it this way or give up."
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