A Quote by Meryl Streep

All an actor has is their blind faith that they are who they say they are today, in any scene. — © Meryl Streep
All an actor has is their blind faith that they are who they say they are today, in any scene.
You don't have to have blind faith for anything. Blind faith leads to fanaticism. You shouldn't have blind faith at all. You have to experience, and after experiencing if you do not have faith, that means you are not honest.
It's no good in a scene to have one actor lie down because the scene says it's the other actor's moment. Each actor has to believe that with extra will, the outcome of a scene can be different. An actor can win the scene if he exerts the most powerful will in that moment.
The thing is, I love a great death scene - no good actor doesn't. Sorry, any actor, I should say.
I had blind faith in him. My faith in Elijah Muhammad was more blind and more uncompromising than any faith that any man has ever had for another man. And so I didn't try and see him as he actually was.
Now the stage today is to know that Self Realization gives you experiences and then your faith is established. Not blind but open enlightened faith.
Every scene in 'Ganga Jamuna' has been spellbinding for me. I can see the film any number of times and still not be able to pinpoint a scene and say 'This is the best scene!' Every scene is perfect.
I didn't feel like going any further in this scene with the boy. He was not a professional actor, and if I had pushed the scene any further it would have destroyed the tone of the movie.
He's very alive in a scene. He's a very good actor to act with. Even though through most of the picture he's blind, there are many places early in the picture I got to be with him before he was blind. Like convincing him in the office to do the picture.
I wouldn’t treat a romantic scene any differently than any other scene. I would really say the biggest preparation was chewing gum and breath mints! For a kissing scene, it’s all about the breath mints!
I wouldn't treat a romantic scene any differently than any other scene. I would really say the biggest preparation was chewing gum and breath mints! For a kissing scene, it's all about the breath mints!
The actor always must be in the scene, not above the scene. To communicate any larger ideas is my problem; it's how the narrative is constructed and directed that hopefully does it.
Any man who stands for progress has to criticize, disbelieve and challenge every item of the old faith. Item by item he has to reason out every nook and corner of the prevailing faith. If after considerable reasoning one is led to believe in any theory or philosophy, his faith is welcomed. His reasoning can be mistaken, wrong, misled and sometimes fallacious. But he is liable to correction because reason is the guiding star of his life. But mere faith and blind faith is dangerous: it dulls the brain, and makes a man reactionary.
If I have enough ego to say I'm a writer, a director, a producer, and an actor, I should have the energy and the knowledge to write a scene for this great actor named Henry Fonda and direct him in it and have it work.
If I do a scene with an actor who doesn't have much experience, I say, 'I tell you what we're going to do: You just listen to me, and then you respond. We don't have to do any acting.' And that's good advice because you shouldn't see the acting.
Do what you want I don't care. That's the thing to say to an actor. Most people don't understand that. Not to manipulate them. That's what you say to an actor. You got a problem with the whole environment in doing that? Fine, what are we going to do to make the scene work? Now you have someone on your side. Now you have someone working with you.
Being blind is as simple as closing your eyes. The blind don't act any different than you or I. You never see a blind person going around saying, 'I'm blind.' So if you want to play blind just close your eyes and keep them closed and fare thee well.
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