A Quote by Shefali Shah

Most actors work on a scene, I try to find out who the character is. So when a scene or a moment comes, I react the way she would react. — © Shefali Shah
Most actors work on a scene, I try to find out who the character is. So when a scene or a moment comes, I react the way she would react.
You are preparing yourself for a scene, and the most important thing is to remain emotionally available and remain in the moment with your scene partner. You don't want to let your own self-consciousness block the flow of creativity that's coming out so that you can act and react, and play what the scene is all about.
My favorite scene on the show [The Office] is on the booze cruise when I finally get to talk to her and tell her, and I react exactly how I would react by saying nothing.
I think it's great to see that there is such a connection to film music and the way people react or connect to a character or scene.
I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
I love Kimberly Peirce. Incredibly intense is a good way of describing her. Brutally honest. Really sharp. She's a director for actors. That's what she's best at, sitting down with an actor and just getting to the heart of what a scene is. And getting to the heart of not just what the scene is and the character is, but what you are, and how to build that bridge between the "me" and the character, and those emotions.
I like actors who just become that person and then react, and Adam [Driver] is completely reactive in that way. So every day working with him was really a pleasure. And he's in almost every scene in the film, so the poor guy had to work the - almost the entire 30 days of our film shoot. But, yeah, he was really a pleasure, and I really love what he - how he embodied this character.
Certain things can't be approximated, so I'm always interested in getting in another way, one which makes the reader bend in closer to the scene even if that scene, especially if that scene, is painful... Brutal language isn't necessarily the most truthful way of describing a brutal moment.
Lee Strasberg taught me different ways in which a scene can be approached so that it is perfect. Acting schools also open you up - you react differently to each scene. It makes you a very reactive person.
I love Charlie, Billy Burke's character. Writing for him is so spectacular, he's so funny and wry and every scene he's in he just takes. There's a scene in 'Eclipse' where Bella tells him she's a virgin, and it's the funniest, most awkward scene I've ever seen on film.
Imagine that someone said or did something cruel to you, but that you did not react in any way whatsoever – you did not become upset, resentful or even ruffled. You simply observed that this person was saying or doing something cruel, as though you were calmly observing the scene in a movie. You simply would not be stressed by what would appear to others to be a highly stressful encounter. Stress and cruelty affect us as profoundly as they do only because we react to them resentfully.
It's no good in a scene to have one actor lie down because the scene says it's the other actor's moment. Each actor has to believe that with extra will, the outcome of a scene can be different. An actor can win the scene if he exerts the most powerful will in that moment.
I want to attack and to lead my life with vigor, but I'm in the watching stage at the moment. Younger actors feel pressure to bring a pop to every scene; as the roles get bigger, I'm finding you can add layers and do less scene-to-scene.
As actors, we react to the material that's out there, and I probably just react more strongly to things that I feel will have some social value.
The main thing about improvising is listening so if something happens that wasn't expected and you know your character, you know what has to happen in this scene, you can react to that in a way that's honest and it might take you in a different direction to go to the same place.
What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.
My stories are about humans and how they react, or fail to react, or react stupidly. I'm pointing the finger at us, not at the zombies. I try to respect and sympathize with the zombies as much as possible.
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