A Quote by Sally Mann
The two sensibilities, the visual and the verbal, have always been linked for me - in fact, while reading a particularly evocative passage, I will imagine what the photograph I'd take of that scene would look like, even with burning and dodging notes. Maybe everyone does this.
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Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.
I have always been good at auditioning, but maybe because I had a good trick at the beginning. I would pretend that my agent gave me the wrong scene or lines. They would take pity on me and hand me the right scene. I would act like I had never seen this before - and then do pretty well considering I had already rehearsed it.
Even on the old show, we would maybe not all be in the scene. Sometimes there would be a penthouse scene and everyone would get together. But, even in that context, it would be because somebody was missing.
I'm a guy where my perfect pitch has been altered by the fact that I usually tune up to what's going on. When I was a kid, it was horrible! If two notes were playing right next to each other, and they were dissonant, it would drive me nuts. If it was something that sounded like it was in between notes, it'd make me cringe.
I've been poked fun of throughout my career by fellow actors for my notes that I take. I have spiral notebooks that I carry with me on every project I do, and I take notes just so that if I have to relive a scene, if I have to go back, I know what I did.
In these interviews, they've been asking me for a while, 'If you could do a scene with anybody that you haven't done a scene with yet, who would it be?' It would be Christian Stolte. He's the most incredible actor. He is always the smartest person in the room.
Generally, my notes and outlines comprise more words than my novels. I suppose that's one reason I'm a comparatively slow writer, something that has always bothered me given the fact that other authors can turn out a book every six months while I usually take about two years.
Between two fantasy alternatives, that Holbein the Younger had lived long enough to have painted Shakespeare or that a prototype of the camera had been invented early enough to have photographed him, most Bardolators would choose the photograph. This is not just because it would presumably show what Shakespeare really looked like, for even if the photograph were faded, barely legible, a brownish shadow, we would probably still prefer it to another glorious Holbein. Having a photograph of Shakespeare would be like having a nail from the True Cross.
There are two kinds of reading, reading which is contemplation - even a kind of vision & reading for information. For the first only the best will do, for the rest - then one can let in anything one would like to read in the world.
If I were reading a book and happened to strike a wonderful passage I would close the book then and there and go for a walk. I hated the thought of coming to the end of a good book. I would tease it along, delay the inevitable as long as possible, But always, when I hit a great passage, I would stop reading immediately. Out I would go, rain, hail, snow or ice, and chew the cud.
Whatever precautions you take so the photograph will look like this or that, there comes a moment when the photograph surprises you. It is the other's gaze that wins out and decides.
A nightmare would be when somebody is trying to be funnier than everyone else. And you've got a group scene or two-person scene, and one person decides, 'I'm the funny in this,' and bulldozes everyone else, and they make sure they're the reason everyone loves the scene.
I've been working with Peaches for a while as far as doing shows, maybe for the past two years. Everyone else seems to think that this is a new relationship, but me and her have been touring off and on for a while now. I was doing my album and I needed that heavy-hitter.
I will be the answer, At the end of the line, I will be there for you, While you take the time, In the burning of uncertainty, I will be your solid ground, I will hold the balance, If you can't look down. If it takes my whole life, I won't break, I won't bend, It will all be worth it, Worth it in the end, Cause I can only tell you what I know, That I need you in my life, When the stars have all gone out, You'll still be burning so bright...
I've never done a kissing scene with someone even when you're friends. I mean that sort of even makes it weirder. If you don't know them or like them at all, you can kind of put some weird like ... I don't know. It's the strangest thing. Look at the person next to you and imagine making out with them now, while I film it.
Even more ominous ... is the fact that since the Second World War a new kind of intellectual has emerged in large numbers. ... he is only minimally interested in the proper intellectual significance of images and objects. Such people are not really intellectuals, but visuals ... A visual is more interested in style than in content ... A visual does not feel a rioting crowd being machine-gunned by the police, he simply sees a brilliant news photograph.
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