A Quote by Neeraj Kabi
The audience basically likes complex characters, and bringing out the complexities is the actor's job. The audience doesn't have the script, the actor does.
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If the audience knows what's behind the door and the actor does not, that's comedy. If both the audience and the actor do not know, that's mystery!
Acting is bad acting if the actor himself gets emotional in the act of making the audience cry. The object is to make the audience cry, but not cry yourself. The emotion has to be inside the actor, not outside. If you stand there weeping and wailing, all your emotions will go down your shirt and nothing will go out to your audience. Audience control is really about the actor
As an actor my job is to deliver the best so that the audience not only likes my roles but also remembers them.
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.
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.
The secret lies in the actor's personal satisfaction. How can the audience be moved by a character the actor himself does not believe in?
The inner life of the [imagination], and not the personal and tiny experiential resources of the actor, should be elaborated on the stage and shown to the audience. This life is rich and revealing for the audience as well as for the actor himself.
The audience has changed. People want something different, they want variety. As an actor, we also seek variations in characters. That's the only way an actor matures.
Basically, the actor's job is to pay attention to the script.
I believe in listening to a script as an audience more than an actor.
Marvel does a fantastic job about bringing human stories - because you're telling big stories with a heart at the centre of it - and that's what connects all of the characters to our audience members.
When I read a script I respond to it like an audience member. At the end of the film, if I'm there in the audience's mind, I have done my job.
If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. [You must] reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.
If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. You must reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.
The actor's physical type is the main consideration. It isn't and shouldn't be. Does the actor "look the part"? It is the simplest question to deal with. The director deludes himself who yields to the temptation to believe that an affirmative answer settles the matter. An actor's looks will impress an audience initially but after his first five minutes on stage it becomes aware of what he or she communicates (or fails to communicate) through acting!
When you see Robert Englund in a movie, you think he is the bad guy, but if I'm not the bad guy, and I'm supposed to just kind of fool the audience, it makes it a lot easier for whichever actor is the bad guy. So I find myself doing a lot of those, I think they're called red herring characters, faking out the audience.
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