A Quote by Robert Duvall
But for me, the challenge is how you turn a character into behavior. Once the director says 'action', you just try to live between those two worlds.
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I'm surrounded by a lot of live-action movie professionals, and I'm just taking their lead, as far as what to schedule to do next. I'm guessing the challenge is going to be not having two characters together, and shooting the live-action without having the animation. In animation, you get to get in between every frame and you work it all out together.
I love Kimberly Peirce. Incredibly intense is a good way of describing her. Brutally honest. Really sharp. She's a director for actors. That's what she's best at, sitting down with an actor and just getting to the heart of what a scene is. And getting to the heart of not just what the scene is and the character is, but what you are, and how to build that bridge between the "me" and the character, and those emotions.
The trouble with the jokes is that once they're written, I know how they're supposed to work, and all I can do is not hit them. I'm more comfortable improvising. If I have just two or three ideas and I know how the character feels, what the character wants, everything in between is like trapeze work.
To me, it always comes down to character and script and then director. If a character belongs to me, it's mine. We belong to each other, and I feel a fierce need to tell that story, and it just so happens that a lot of these characters have been residing in pretty dark worlds.
Life is a challenge" he once told me, "and only those who rise to the challenge truly know what it means to live.
What a director really does is set the emotional temperature and the mood and the level, amount, or lack of, distance between the action and the character, and the character and the audience.
I usually experiment with posture and physical attributes that may inform the character. Next, my impression gets a nice injection of inspiration when the costumes arrive and I can see his silhouette in the mirror. Then I go memorize all the lines and try and connect each line to a thought I think he might have. Then I show up on the day, wait my turn, and when the director calls "action," I trust that I have done enough work on my impression that I can just believe it strongly enough to play with abandon from inside that character.
It seems to me that if you or I must choose between two courses of thought or action, we should remember our dying and try so to live that our death brings no pleasure on the world.
I don't see a difference between playing a performance capture role and a live action role, they're just characters to me at the end of the day and I'm an actor who wants to explore those characters in fantastically written scripts. The only caveat is a good story is a good character.
I think that the most important thing for me is, how is the character that I would be reading for? Is it interesting? Is there stuff to do? Are there things that you can do with the character? How can you play it out? Just those kinds of things that are very important for an actor. Also, a good director and good dialogue.
Once you start deliberately offering thought, then you can never offer enough action to keep up with the thought. Once you access the Energy that creates worlds, a huge vortex comes into place, and there's just not enough action for you to keep up with that. And so, what you have to do is visualize every step of the way, envision you happy in the process. Envision things in place, envision people catching on. Just envision it working. Skip over the how and the where and the when and the who - and just stay focused upon the what and the why. Abraham
The underlying struggle - between worlds of plenty and worlds of want; between the modern and the ancient; between those who embrace our teeming, colliding, irksome diversity, while still insisting on a set of values that binds us together, and those who would seek, under whatever flag or slogan or sacred text, a certainty and simplification that justifies cruelty toward those not like us.
I stand between two worlds. I am at home in neither, and I suffer in consequence. You artists call me a bourgeois, and the bourgeois try to arrest me...I don't know which makes me feel worse.
Why no aggressive action?" Foaly squirmed in a harness built for two-legged creatures. "Oh yes, why no aggressive action? How I long for aggressive action." "I live for aggressive action!" thundered Orion squeakily which was unusual. "Oh, how I pray that dragon will turn 'round that I may smite it." "Smite it with what?" wandered Foaly "Your secret birthmark?" "Don't you mock my birthmark, which I may or may not have.
I never like to judge the character. I just have to leave my feelings of pity, or fear, about a character - whatever I feel towards the character, I try to leave to one side. It's good to have them, but it doesn't help me. I can't act those things. I just to play the character as truthfully as I can.
Peeta, how come I never know when you're having a nightmare?” I say. “I don't know. I don't think I cry out or thrash around or anything. I just come to, paralyzed with terror,” he says. “You should wake me,” I say, thinking about how I can interrupt his sleep two or three times on a bad night. About how long it can take to calm me down. “It's not necessary. My nightmares are usually about losing you,” he says. “I'm okay once I realize you're here.
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