A Quote by Stellan Skarsgard
Some actors are what I call more like mirror actors, which means that they do a performance at home in front of the mirror, and then they go deliver it. I'm not that type.
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Let Go of Your Worries Let go of your worries and be completely clear-hearted, like the face of a mirror that contains no images. If you want a clear mirror, behold yourself and see the shameless truth, which the mirror reflects. If metal can be polished to a mirror-like finish, what polishing might the mirror of the heart require? Between the mirror and the heart is this single difference: the heart conceals secrets, while the mirror does not.
I'm on the mirror diet. You eat all your food in front of a mirror in the nude. It works pretty good, though some of the fancier restaurants don't go for it.
You work with every actor differently. It's like if you're a mother, if you have children, some children need more discipline. Other children you back off of a little bit and let them be. It's the same way with actors. Some actors need a lot of hand holding. Other actors like to be let be and you let them go. Some actors like to be nudged just a little bit. Some actors don't mind line readings.
Some actors are constantly on the phone, some are always looking into the mirror while some like to sit and bond.
You are not the one who experiences liberation; you are the clearing, the opening, the emptiness, in which any experience comes and goes, like reflections on the mirror. And you are the mirror, the mirror mind, and not any experienced reflection.
I practice for hours in front of the mirror. I constantly deliver my routine in front of my friends.
Fantasy is the tendency of Americans, going back to colonial times, to look at the Middle East as a type of fractured mirror of the United States - a type of mirror that could look a lot more like the United States, if, say, a Middle Eastern George Washington would emerge.
A newspaper is a mirror reflecting the public, a mirror more or less defective, but still a mirror.
In this type of cinema, whether working with actors or non-actors, as much as you do direct them, if you allow yourself to be directed by them, then the end result will be much more pleasing. The real and individual strengths of the actors is allowed to be expressed and is something that does affect the audience very deeply.
You work with every actor differently. It's like if you're a mother, if you have children, some children need more discipline. Other children, you back off of a little bit and let them be. It's the same way with actors. Some actors need a lot of hand holding. Other actors like to be let be, and you let them go.
It is true that as he film market in China has grown, actors' and actresses' compensation has grown quite a bit. Different actors have different kind of deals. Some take percentages, some sign contracts with a company, some take a simple cash payment. But the growth also means there are many more actors out there. Competition has gotten much stiffer, too.
Photography is the mirror, more faithful than any actual mirror, in which we witness at every age, our own aging. The actual mirror accompanies us through time, thoughtfully and treacherously; it changes with us, so that we appear not to change.
And so, however many people watch this thing, that's how many different opinions there will be about it. But I don't feel like it has an agenda in terms of its ideology. It just presents a story like a mirror. It's a mirror more than it is than a distorted mirror.
When I woke the next morning in my room at White's Motel, I showered and stood naked in front of the mirror, watching myself solemnly brush my teeth. I tried to feel something like excitement but came up only with a morose unease. Every now and then I could see myself-truly see myself-and a sentence would come to me, thundering like a god into my head, and as I saw myself then in front of that tarnished mirror what came was 'the woman with the hole in her heart'. That was me.
You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, I'm your mirror; if I can do this in my life, you can do it in yours.
You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'
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