A Quote by Shailene Woodley
When you're on set and you professionally listen to what the other actors have to say, then the emotion is naturally evoked.
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The only way of expressing emotion in the form of art is by finding an "objective correlative"; in other words, a set of objects, a situation, a chain of events which shall be the formula for that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.
I think all great actors - and I don't classify myself as one of them, incidentally - but I think all great actors listen well and I've learned that from a lot of the very good actors with whom I've worked - to really listen to what people say.
I don't want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away. I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives. I feed off that and work off that. I don't like to be too prepared, no. However we define too prepared, if I feel it's getting that way, then I'll back off. My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.
In life we listen to other people. Listen with varying degrees of concentration and attention, right? Actors must learn to listen in a different way.
Color has always evoked emotion for me: visually, internally, emotionally.
My music is rock. I listen to Red Hot Chili Peppers and I listen to one of my songs, and if I don't give you the same emotion, then I go back and re-spit.
One of the good thing about theater in the states, is that the playwright we do have a say, especially in the beginning, when the play is being discussed around the table. We talk about the play, and the actors listen, and there have been cases, you disagree on something... I mean, actors don't usually tell you what they're going to do, they do it. Of course, you try to speak with the director and say, "Is there any way you can bring this actor to do something different?" You try as much as you can, but then, you also have to be open to interpretation.
I used to not listen that much, but I've really learnt to listen to other people and to really listen to what they're saying. I've found, especially being on a film set, people have so many different stories; if you just listen, you can pick up so much stuff. I try to listen as much as I can.
It's in the eyes, mostly. Don't listen just to the other actor's lines. Look at - and listen to - their eyes. That's where the emotion comes through.
On the set you just have to listen very closely, listen to everyone around you, absorb everything and try to be what they want you to be with the little bitty line that you'd have to say. If it was a good line, it would be such fun to say it with vigor.
Sometimes you can just have a dialogue with an actor beforehand and shape the performance then, but other actors need more guidance on the set.
I find it rather tedious working with some actors who have to go into a corner and bounce up and down, shake their hands and arms, saying to the director, "Just a second - I'll be ready in a few minutes, " while all the other actors are waiting around to get in. Then they say, "OK! I'm ready now." And then they come on and do it exactly the same way they've done it in rehearsal.
As a professional wrestler in the position I am in, I would rather have people remember my matches for an emotion or for a certain thought it evoked when they saw it.
I don't want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away.
When you're a lead role, I'm learning that you set a tone for the movie in a way, like a director does, or like other actors do. But it seems like you set a mood on set.
I think the key that differentiates the good actors from the mediocre ones that are still trying to come up, is that the good ones know how to listen. It's like being in a jazz band. They know how to listen to what the other musicians are playing. And where to come in and where to sit out. That's my approach to being in an ensemble cast and working with any kind of actors in a scene.
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