A Quote by Masiela Lusha

I think as actors we need to close read scripts and we need to fully understand the intricacies of dialogue as well as the symbolisms of what the actor wears and what they hold in their hand because that only adds more layers to the character.
I need someone. I need to hold somebody close. And I need more than this holding. I need someone to understand how I feel at a time like now. And the understanding must be part of the holding.
Sometimes you can just have a dialogue with an actor beforehand and shape the performance then, but other actors need more guidance on the set.
You work with every actor differently. It's like if you're a mother, if you have children, some children need more discipline. Other children, you back off of a little bit and let them be. It's the same way with actors. Some actors need a lot of hand holding. Other actors like to be let be, and you let them go.
I never think of an actor as a model. A model wears what you tell them to wear, that's their job. An actor is different. It's important to work with the actor because in the end that's who the audience sees and that's the success that you need.
We do not need more material development, we need more spiritual development. We do not need more intellectual power, we need more moral power. We do not need more knowledge, we need more character. We do not need more government, we need more culture. We do not need more law, we need more religion. We do not need more of the things that are seen, we need more of the things that are unseen. It is on that side of life that it is desirable to put the emphasis at the present time. If that side be strengthened, the other side will take care of itself.
All modesty aside, I think I'm good at reading scripts. The way I read a script is as fast as I can, all in one sitting, and I don't read many of the stage directions. I only read enough stage directions to let me know where I am, because they're always so verbose and mostly horseshit. So I only read the dialogue, which allows me to see the movie in my mind's eye in real time.
I worked in script development, many years ago, and read a lot of scripts. Between that and the scripts I've read as an actor, and I'm a writer as well, I think I have a pretty good sense about whether the bones of a story are there and whether the structure is intact.
You work with every actor differently. It's like if you're a mother, if you have children, some children need more discipline. Other children you back off of a little bit and let them be. It's the same way with actors. Some actors need a lot of hand holding. Other actors like to be let be and you let them go. Some actors like to be nudged just a little bit. Some actors don't mind line readings.
My only window into the Internet is Twitter because I am afraid of the Internet. I need my mom to hold my hand if I'm going to read anything about me.
None of you need worry because you read something that was incompletely reported. You need not worry that I do not understand some matters of doctrine... I think I understand them thoroughly.
If you can't fully believe in your ideas, it very quickly communicates to a group of actors who need something to hold onto. They need to believe that whatever criticism, whatever comment is received, is meant.
We don't need no more rappers, we don't need no more basketball players, no more football players. We need more thinkers. We need more scientists. We need more managers. We need more mathematicians. We need more teachers. We need more people who care; you know what I'm saying? We need more women, mothers, fathers, we need more of that, we don't need any more entertainers
A lot of actors choose parts by the scripts, but I don't trust reading the scripts that much. I try to get some friends together and read a script aloud. Sometimes I read scripts and record them and play them back to see if there's a movie. It's very evocative; it's like a first cut because you hear 'She walked to the door,' and you visualize all these things. 'She opens the door' . . . because you read the stage directions, too.
Sometimes your body language is enough for an actor to know that you're not happy. And you don't really need to say it out loud if you deal with actors you know very well. And I don't think you really need to be explicit.
I do feel that scripts get developed now to a point where they're sort of actor-proof. If the actor is not very good, the narrative still survives because it's all in the dialogue. Not to say there aren't great performances in English-language films, because there are every year, but the 1970s were awash with great performances, and I was wondering whether it had to do with the amount of space and the amount of responsibility given to the actors.
You need to understand the meaning of the dialogue to be able to convey it right. You need to know it to understand the nuances of the scene.
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