A Quote by Rupert Everett
Actors make bad lovers. Their most important kiss is for the camera. Not in a superficial way, in a really deep way. They can only give everything if they know someone is going to shout cut!
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My true role is to get actors to understand what the camera is doing and what my intent is so they don't waste their good stuff on over-the-shoulder shots and wide shots. They need to know when we're going in to get something important, so they know to really go for it. No human being can give you 1,000 percent on every single take or shot, so you need to let them know what you're heading for. It's important that the actors know they're being looked after and being recorded in a way so they can do their best.
Really, even in this whole Obama initiative, and everything that's going on with the economy, the only way to jump start it is we have to give each other opportunity. That's the only way to make it work.
If you're going to have kids, there's only one way to go. They have to know they're the most important things in your life, and once you're doing that, there's no way that you could not learn from them, because they just give you stuff constantly.
A kiss with anyone, on or off camera, can be intimidating. I’ve been kissing for nearly two decades now, and I’m always convinced I’m not doing it right. Chemistry is so important in a great kiss. You can act your way through anything, but it’s hard with a kiss.
A kiss with anyone, on or off camera, can be intimidating. I've been kissing for nearly two decades now, and I'm always convinced I'm not doing it right. Chemistry is so important in a great kiss. You can act your way through anything, but it's hard with a kiss.
It's a really deep and layered psychological situation - making music with someone - if they're trying to make something real and personal. It's almost like dating: you allow yourself to be consumed by the other - not in a bad way, but in a way that happens in nature.
A huge part of what we do as actors is learning to ignore the camera, as if it's not even there, while simultaneously being very aware of the camera and what it's capturing, because you can give the best performance of your life, but if you do it with the back of your head facing the camera, it's going to get cut from the movie.
A lot of young actors have the idea that, "I've got to do this right. There's a right way to do this." But there's no right or wrong. There's only good and bad. And "bad" usually happens when you're trying too hard to do it right. There's a very broad spectrum of things that can inhibit you. The most important thing for actors - and not just actors, but everybody - is to feel loose enough to create what you want to create, and be free to try anything. To have choices.
It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.
The actor has to have some degree of craft, along with the talent. No one tries to laugh except bad actors. No one tries to cry except bad actors. How a character hides his feelings tells us who he is. Most people don't know that, and most actors don't do that. Therefore, there are a lot of actors who put me to sleep, that are considered good actors, but they're predictable and boring. I know how the scene is going to end before it ends.
That's life. We all go through the tractor blades now and then. We all get bruised, and we all get cut. Sometimes the blade cuts deep. The lucky ones come through with a few scratches, a little blood, but even that isn't the most important thing. The most important thing is having someone there to scoop you up, to hold you tight, and to tell you everything is all right.
An audience who watches my shows knows who I am, knows that right when they think I'm going to make a joke, I'm going to blow something up, or during the worst peril, I'm going to have someone give someone a kiss - it's just going to happen.
You make other team think you going one way and you got to sell the move going that way and you've got to really make them think that you're going that way and they're going the other way. When it ends up ultimately being a perfect crossover is when you shake them so bad that they can't even get back into the play to play defense. You're already gone. That's what I think the perfect one is to where a teammate of his has to stop you from scoring.
I've always thought that when anyone receives an award for acting they should always thank their fellow actors, because the only way you're going to deliver your best performance is when you have other good actors on the set supporting you and being very present for you even when the camera is not on them.
As a director, you want to be really connected to every part of your set, from your actors all the way to your camera operators. Everybody is a part of the creative process, and if they feel like they're part of a team versus just being a tool, they're going to give you something special.
What actors need to do is to find a way to show people their despair, their joy, their pain, their exhilaration. All of these deep, deep emotional things - good and bad - so that if you're able to do that, then there's a kind of resonance that happens.
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