A Quote by Michael Stuhlbarg
Doing film and television demands a kind of simplicity. If you think something differently, the camera will pick it up.
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With film acting, and often when the camera comes very close, you just have to think about something and the camera will pick it up.
The difference between an amateur and a professional photographer is that the amateur thinks the camera does the work. And they treat the camera with a certain amount of reverence. It is all about the kind of lens you choose, the kind of film stock you use… exactly the sort of perfection of the camera. Whereas, the professional the real professional – treats the camera with unutterable disdain. They pick up the camera and sling it aside. Because they know it’s the eye and the brain that count, not the mechanism that gets between them and the subject that counts.
My dad gave my brother and I a camera to film our football games when we were 10 years old so we could see how we could get better. Then one day, we decided to pick up the camera and film whatever we were doing.
On practical level I can't pick up the camera until I think I know what I want. I don't wander around. It's almost impossible for me to pick up a camera... it's really hard.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
I think where Playground is heading is deeper into that marriage between stage, film and television, with the increasing number of people in the film business working in television, obviously something that we were very influential in starting and doing at HBO. And I think that that's the focus of where I see the company moving forward, continuing to explore that intersection of all that talent.
Idling is important. Most people don't know how. They're afraid of it. This explains why they turn on the television set or pick up the newspaper. They think they have to be doing something.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
Live television drama was like live theater, because you moved without thinking about the camera. It followed you around. In film you have to be more aware of what the camera is doing.
My first job was television. I got to where I wanted to go, but through a little bit of a detour. When I first started working in film and television, I hated myself - I didn't like what I was doing at all. All I could think of was, 'I'm overacting. Be smaller.' I started to do that, but that was not fun. I felt confined doing film and TV.
As an actor, I always think that if someone does pick up a phone during a performance, something dire must be happening in their lives that is more important than theatre - some kind of tragedy they were attending to, or something. It's very uncomfortable if you don't know why they would pick up a phone and talk in the middle of a show.
Go home, pick up your video camera, and make a film.
I think poets are supposed to be writing for television and film. I grew up in the day of early TV that was so raw and funny, and I think we're in the next important moment of television, where it's really telling the epic of the culture like Charles Dickens was doing in the 19th century with his serialized novels.
Film, theater and television always kind of scared me. I don't ever seriously think of myself as an actor at all, and I don't plan any film career or television career.
I just use [the camera]. I just pick it up like an axe when I've got to chop down a tree. I pick up a camera and go out and shoot the pictures I have to shoot.
Most acting today on television is like a locomotive on a track. Everybody knows what they are doing. The problem of writing today is everyone sounds the same. We speak differently. We think differently. People are different. And that's the beauty of it.
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