A Quote by Michael Cimino

Encountering a real place enhances the performances of actors in subtle ways and changes the spiritual texture of the film. — © Michael Cimino
Encountering a real place enhances the performances of actors in subtle ways and changes the spiritual texture of the film.
I'd like to drill in a little more detail into one aspect of cutting which is particularly close to me and that's dialogue editing. It is a vital part of editing especially in animated film, but in the end it is usually completely transparent to the audience. The vocal performances are reported for over several years and the actors are very rarely in recording studios together. That's why the editor has got to all these different performances and edit them together to create the illusion of spontaneity and real action.
I love working with rotoscopic animation because under the incredible handpainted artwork are real actors and real human performances.
The one immutable reality of film is, no matter how wonderful the actors and the performances are, every year the actors age and grow older - Sophie Turner's Jean Grey was wonderful!
I always pan-fry sprouts - it retains texture and enhances flavour.
Actors' performances do not stand alone in any film, live action or whatever.
In very subtle ways, how we regard ourselves and others continually changes us into something new.
I think there is a legitimate critique of reformism, as a politics that is content with making small changes in society without asking for bigger and deeper changes. And revolutionary reforms, meaning actions that we take in small ways to make the world a better place and disrupt some of the ways that capitalism is reproduced.
Someone who directs a film, they have to see the overall picture, and they have to get the best performances out of the actors.
For me, 'Mary Magdalene' is the most beautiful film I've shot with the performances and the script and the actors and ensemble. But not one saw it.
Spiritual people don't float around all day on clouds of glory; they live in the real world and deal with real issues in real ways.
The whole switch from film to digital has changed some of the ways I use color and the juxtaposition of light and dark. It's getting better with digital, the separation's gotten better, but I still feel like it's really flatter than film, so I do a lot of screening and subtle textural printing and painting on clothes for film to get it not to look flat.
I think acoustic performances and full, live performances are always cool in different ways.
Indian actors, because of the format of our stories, need to be good actors, and be able to perform emotional sequences, do a bit of comedy, dance and singing, action, because all of this forms just one film. In many ways I'd say there are greater demands on Indian actors than there are on Hollywood.
I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.
On stage you look much larger than you are. You can have subtle changes of timing; how you place a punchline in a joke or movement or emotion according to an audience.
In film, other actors' performances really are not your concern. If the other actor isn't giving you what you want, act as though he were.
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