A Quote by Ryan Reynolds
I noticed while working on Green Lantern that the actor - albeit forefront in the film, obviously, and the key focus for the audience - is kind of the smallest cog in the machine when you're shooting.
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When you're a director, you have great respect for directors. I am really pretty loyal to any director that I am working for and I want to help them realize whatever story and mood and tone that they're trying to realize. As an actor, you really just are a cog - you are an important cog, but you are just a piece of the machine.
When you sit and watch the film with an audience, the focus groups and the cards and all of that is the less what you're worrying about. When you watch a film with an audience you see what is working and what's not working.
In fact, Salman Khan is a kind of an actor who doesn't take anyone's limelight while shooting. He is a very secure actor. He has some kind of aura around him. He is least bothered as to which actor is getting how much screen space.
Sometimes during a show or a film, while you're shooting it, you'll think, "This is great, it's going to be fantastic, the script is incredible, and the actors are great, and everything is working out brilliantly." And then you see it, and you kind of go, "Oh god, it's not as good as I thought it was," and it doesn't get an audience to watch it. It only does a couple of festivals and then dies and whatever.
It's much easier to make a Superman or Batman film than a Green Lantern film.
People working in films are somewhat like gypsies: we move from set to set and spent weeks, sometimes even longer working while shooting a film. Right from the spot boys to the make-up guys and cast and crew, we become a kind of family.
I created lots of characters in high school and college, and the first character I created in pro comics was Liana, Green Lantern of M'Elu, for a backup story in 'Green Lantern #162,' my first professional sale.
The similarity between Iron Man and Green Lantern is, unlike Superman or any of the X-Men or Spider-Man, anyone can be Green Lantern or Iron Man. All you need is the ring or the suit.
I see a film or a TV series or a play as being this machine. It sounds quite robotic, in its description, but it's basically a machine and you're just one of the cogs that goes in it. You're not the biggest one, and you're not the smallest one. Everyone's the same size.
One of the reasons I loved working with Tom is people feel they know who he is... I think working with an actor who the audience already has a relationship with actually helps you in a film like this.
I'm always thinking, 'What next,' even while working on one play or shooting for a film.
You know obviously a big TV or film break would be lovely, but I find that I’m essentially a theatre trained actor and that’s what I love doing. I love fringe theatres in London, I love theatres like the Royal Court, Soho and the National obviously and if I could work in any of those and be a jobbing actor for a while then I’m very lucky.
In comedy, beware the split focus. The audience should focus on the face of the actor. The audience must see the setup. If there is action elsewhere on the stage, the comic line can be lost.
I did a film that was similar to that world, which was Brotherly Love, and the audience fell in love with [my character] June. So to be honest, I remembered what I did in that movie and studied that film and my mannerisms while shooting in Philly.
Being an actor in TV or movies is different. A film or TV actor, if put in theatre, won't know certain dimensions, while a theatre actor won't know certain things when he comes before the camera. So I think a film actor can learn emoting from this theatre counterpart, while the theatre actor can learn about camera techniques from the film actor.
For 'City of Ghosts,' I really didn't speak any Arabic. It obviously made it more difficult, but I also found it to be an advantage while shooting. It allowed me to focus on the emotion of the scene as opposed to just chasing dialogue.
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