A Quote by Robert Ryan
I often concentrate on the eyes and lips, they are great indicators of mood and feeling, and I find that I can project character into my portraits by bringing the viewer's attention to these areas.
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Often, feelings of sadness, uneasiness, and loneliness are vague and unattached to specific events. This makes it more challenging to find ways to turn you mood around. When you find yourself in a funk, focus on what you're feeling.
My idea of a perfect surrealist painting is one in which every detail is perfectly realistic, yet filled with a surrealistic, dreamlike mood. And the viewer himself can't understand why that mood exists, because there are no dripping watches or grotesque shapes as reference points. That is what I'm after: that mood which is apart from everyday life, the type of mood that one experiences at very special moments.
When a director narrates a character, I find it normal to ask questions about the character's background, mood swings, eccentricities, behaviour... I do this to make my performance relatable. Directors who don't know their characters well find it difficult to answer these questions and, hence, find me annoying.
We used hand-held cameras 50 years ago. It wasn't something new. Sometimes we used a tripod, or we'd have a tracking shot, and sometimes - like when a character was being chased - we used a hand-held camera because it was right for the scene. In those cases, it helped the mood; it created immediacy and a feeling for the viewer that they were in the scene and in the moment.
To concentrate implies bringing all your energy to focus on a certain point; but thought wanders away... Whereas attention has no control, no concentration. It is complete attention, which means giving all your energy, the energy of the brain, your heart, everything, to attending.
The big question is always, 'Eyes or lips?' I tend to go with the eyes because I've got a lot more material to work with now - and it saves me from reapplying lipstick! I'm a pretty low-maintenance person and it's too excessive to exaggerate both the eyes and lips.
If to the viewer's eyes, my world appears less beautiful than his, I'm to be pitied and the viewer praised.
I felt that the beach portraits were all self-portraits. That moment of unease, that attempt to find a pose, it was all about me.
As the character changes in the movie, it rubs off on the viewer, so the viewer also goes through that change.
Have you met my boyfriend?” There. That was a doozy. His eyes narrowed, and his lips thinned into a tight line. Yep, Noah was a mood kill for both of us.
I'm confident that the wrong cinematographer on a project can very much derail the mood and the feeling on set when you're trying to create a bubble of trust, effectively.
Too often in business, only financial data is gathered - and then it is distributed only to management. Other key indicators that relate to performance areas also need to be tracked. Information on performance has to be made available to those people who can best use it - those doing the work.
I think the eyes are very revealing and can expose a lot about a persons mood or character.
Between lips and lips there are cities of great ash and moist summit, drops of when and how, vague comings and goings: between lips and lips as along a shore of sand and glass the wind passes.
I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.
I find that in preparation for a drama you can do a lot of character work and develop the character and know what you want to achieve and project throughout the course of the film.
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