A Quote by Ron Cephas Jones

Acting is revealing the truth that is already within you and that reflects the character that you're doing. — © Ron Cephas Jones
Acting is revealing the truth that is already within you and that reflects the character that you're doing.
Broadly speaking, there are two kinds of acting: character acting and lead acting. And in my life, to begin with, in the 1980s, it was all character acting. And then when, by fluke, through 'Four Weddings', I got into doing lead parts, it's a completely different thing.
The philosophical underpinnings of my approach to acting are that there are universal human qualities, and that every character is actually available within each one of us, that if we tap down into that universal humanness, we can find whatever character it is that we need to play already there within ourselves, and it's just a matter of peeling apart the onion that is you and finding that character within you, because of this universal human quality.
John Cassavetes' films have really altered the way I see film and acting and storytelling and emotion and love, so I see acting as this incredible revealing of human nature and this means of telling our story, sharing our voice with the world. That's what acting is for me. It allows for people to experience things through the character, through the story.
For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.
The main thing in acting is honesty, to feel the humanity and get to the essence of the character. You can't put anything into a character that you haven't got within you.
I don't like to intellectualize about my acting. I don't sit around and study the pages of a script over and over again. I don't worry whether the period is contemporary or three hundred years ago. Human beings are all alike. The main thing in acting is honesty, to feel the humanity and get to the essence of the character. You can't put anything into a character that you haven't got within you.
The Holy Ghost, a personage of spirit, is their minister, who has been given the power and assigned the functions of bearing record of the Father and the Son, of revealing the truths of salvation to men on earth, and in due course, of revealing to them, all truth.
Acting is no longer about lying. It's now about revealing the truth. People are at ease with me now. Honesty is the best policy.
The thing is, about a character, it's not about being right, it's about the truth. The truth comes from within, so you have to search as an artist for the truth.
Keep everything in context, and try to have each line doing more than one thing - not just giving exposition but also revealing character and history, etc.
For an entire populace, change, growth, and spontaneity were dangerous. Acting upon a personal desire, whispering a hidden longing, revealing your true feelings - all the human actions we think of as essential to a character - had be censored by the self lest they be punished by the state.
The best advice my dad ever gave me is that acting is believing. Acting is not acting. It isn't putting on a face and dancing around in a mask. It's believing that you are that character and playing him as if it were a normal day in the life of that character.
I am also lucky that I can forget about any character I do within 24 hours. I can laugh heartily within minutes of doing a crying scene.
I believe in method acting. Whenever I'm working on a character, I start behaving like him. I start doing these things which the character would normally do. Maybe that's the way I function as an actor, and I believe in it. And that's how I try and portray a character.
Acting is all about finding the truth within whatever world you're in.
When I was acting, I got trained in creating a character as a three-dimensional person. If you're doing it right you should be able to draw an audience into the character's world and make them feel their fears.
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