A Quote by Michel Gondry
I shoot people in a way that makes the audience feel equal to them. And it's hard to express and it's hard to execute but I think it works on every level - the choice of the material the choice of the actor, my relationship with the actor, and so on.
Related Quotes
Privacy is important to me. But it's not just about sticking two fingers up and saying I don't want anyone to know my business. It's an artistic choice. I think that for any actor to convince their audience that they have completely inhabited a character requires a certain level of anonymity.
Every choice one makes either expands or contracts the area in which he can make and implement future decisions. When one makes a choice, he irrevocably binds himself to the consequences of that choice.
There is a bit of a once a soap actor always a soap actor thing, but I do think people still recognise talent. If youre good at something, then people have no choice but to accept it.
Every choice that we makes creates consequences, consequences in the lives of others and we experience them in ourselves, those same consequences, every choice that we make. And by the way the choices that you might think are the most important are not always the most important.
Here is the trap you are in.... And it's not my trap—I haven't trapped you. Because abortions are illegal, women who need and want them have no choice in the matter, and you—because you know how to perform them—have no choice, either. What has been violated here is your freedom of choice, and every woman's freedom of choice, too. If abortion was legal, a woman would have a choice—and so would you. You could feel free not to do it because someone else would. But the way it is, you're trapped. Women are trapped. Women are victims, and so are you.
For me, I think you make a choice what kind of actor you want to be, and then it's kind of the material you choose.
I'm sure every actor works as hard as me, if not more.
When I take photographs, my body inevitably enters a trancelike state. Briskly weaving my way through the avenues, every cell in my body becomes as sensitive as radar, responsive to the life of the streets... If I were to give it words, I would say: "I have no choice... I have to shoot this... I can't leave this place for another's eyes... I have to shoot it... I have no choice." An endless, murmuring refrain.
It is one of the few elements in the process that a director really, really can't control: an actor's performance. If you have a director that understands that, it's comforting to an actor. You're starting the relationship more as a collaborator, rather than as an employee or some kind of a soldier trying to execute something you don't organically feel.
You have to edit the material. That assumes that some kind of a mind is operating in relation to the material. Not all minds are the same. Every aspect of filmmaking requires choice. The selection of the subject, the shooting, editing and length are all aspects of choice.
This Budget reflects a choice - not an easy choice, but the right choice. And when you think about it, the only choice. The choice to take the responsible, prudent path to fiscal stability, economic growth and opportunity.
I think it's really hard to be joyful. I work hard at it. I always feel like it's a choice. You can be joyful or you can be depressed, and there just doesn't seem to be any future in depression.
You think because you face situations not of your making that you exercise no choice? That you are helpless? To the contrary, child. Your whole life has been full of choices. Hiding from a hard truth is a choice. Surrender - even to the inevitable - is a choice. Even in death there is a choice. You may have no control over the time or manner of your death, but you can choose how you face it.
My belief is that if I can achieve that level of entertainment by making the audience happy or sad or angry, then I have succeeded as an actor and have done my job. The profits and the fame as an actor will eventually surface, but first and foremost comes the work as an actor.
It's important that the actor doesn't feel like they're working in a vacuum. If the actor is told, 'Oh, it's a secret; just play it this way or that way,' it's a bit patronising. I think you have to bring the actor into your thinking and explain things.
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.
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