A Quote by Simon McBurney
With the theatre, for God's sake, everything makes sense. You create a clear sequential reality for a specific audience at one particular time.
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For the audience, actors carry out specific roles of men and women through the character that they play out on screen. The director on the other hand is not doing a gender-specific job. So, it is irrelevant if the person who makes a particular film is a man or a woman.
Compare the cinema with theatre. Both are dramatic arts. Theatre brings actors before a public and every night during the season they re-enact the same drama. Deep in the nature of theatre is a sense of ritual. The cinema, by contrast, transports its audience individually, singly, out of the theatre towards the unknown.
In anything really, it's finding the reality. You can't be 'real,' but you can create a reality. And that created reality is what the audience believes in. And that's essential. Because if the audience doesn't believe that, they're never going to trust you. And if they don't trust you, you can't lead them up the mountain.
Reality is not so much what happens to us; rather, it is how we think about those events that create the reality we experience. In a very real sense, this means that we each create the reality in which we live.
Time limits are fictional. Losing all sense of time is actually the way to reality. We use clocks and calendars for convenience sake, not because that kind of time is real.
'The Lobster' is very particular, and we did need to create a very specific world with specific rules so the whole premise would work.
Americans tended to think of war as something that had to be done from time to time, for a particular purpose or goal. They fought not for the sake of fighting but for the sake of winning.
Be creative in that sense and your creativity will become an offering to God. God has given you so many gifts, Garima; something HAS to be done just in deep thankfulness. But remember: with no motive, not as a means but as an end unto itself. Art for art's sake, and creation for creation's sake, and love for love's sake, and prayer for prayer's sake.
Julian spoke with the clear, unequivocal lucidity of madmen who have escaped the hypocrisy of having to abide by a reality that makes no sense.
Everything you see or hear or experience in any way at all is specific to you. You create a universe by perceiving it, so everything in the universe you perceive is specific to you.
Whether you are a writer, or an actor, or a stage manager, you are trying to express the complications of life through a shared enterprise. That's what theatre was, always. And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else.
Whether you are a writer or an actor or a stage manager, you are trying to express the complications of life through a shared enterprise. That's what theatre was, always. And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else.
The Oriental thinks everything in the sense-perceptible world is 'maya'; everything perceived by our senses and all thinking connected with sense perceptions is 'maya,' the great illusion. The only reality is the reality of the soul. What a human being achieves in his or her soul is reality.
The 60's has its own particular style and I think setting film in a period enables you to create your own reality that the audience can escape into and have fun, and in a way make it more real than it actually is.
As a pianist, our particular role is to enter a piece and its logic and create a particular interpretation from our understanding. The most important thing for the performer is, after all, to create a special atmosphere - we enter the composer's feelings and emotions and recreate them freshly for a given audience.
We live within this reality we create, and we're quite unaware of how we create the reality. So the work is often a general koan into how we go about forming this world in which we live, in particular with seeing.
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