A Quote by Stephen Henderson
Don't listen to some outside interpretation - do the scene as it makes sense to you and the other actor.
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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.
The only tool we have as artists is selectivity. If you're a painter, you select the color, the lines, how severe they should be. As an actor you develop how angry you should be. You select how angry you should be. You listen to the other actor and then you react. In film, sometimes the other actor isn't even there. You have to play the scene. What I do is I call on my experience on the stage. I play the scene and I hope that I reach a certain level of integrity because that's what I learned on the stage.
When I started out as an actor, I thought, Here's what I have to say; how shall I say it? I began to understand that what I do in the scene is not as important as what happens between me and the other person. And listening is what lets it happen. It's almost always the other person who causes you to say what you say next. You don't have to figure out how you'll say it. You have to listen so simply, so innocently, that the other person brings about a change in you that makes you say it and informs the way you say it.
Sometimes a scene works and acting is the easiest thing in the world and you don't have to do much of anything - just enjoy yourself and listen to the other actor. When it doesn't work, then every actor has different ways of dealing with the impasse. Sometimes you use memories from the past. Whatever. It depends from job to job.
Sometimes I'll watch a movie, and it's got some big star in it playing a working-class person, and the character is in a grocery store, and you can kind of tell, from just watching the scene, that this actor doesn't do their own shopping. So you have to have some sense of reality.
It's like, sometimes I'll watch a movie, and it's got some big star in it playing a working-class person, and the character is in a grocery store, and you can kind of tell, from just watching the scene, that this actor doesn't do their own shopping. So you have to have some sense of reality.
I like the rhythm of comedy in dramas, if that makes sense. In other words, I don't want to write setup, punch, setup, punch, where the joke dictates the scene; I want to find comedy in which the drama is actually driving the moment in the scene.
I always want another actor to shine in my scene because it makes the film stronger. I would encourage people to scene steal, because filmmaking is a collaborative effort.
Proselytism is solemn nonsense; it makes no sense. We need to get to know each other, listen to each other and improve our knowledge of the world around us.
Proselytism is solemn nonsense, it makes no sense. We need to get to know each other, listen to each other and improve our knowledge of the world around us.
The most successful tyranny is not the one that uses force to assure uniformity but the one that removes the awareness of other possibilities, that makes it seem inconceivable that other ways are viable, that removes the sense that there is an outside.
We have this huge, massive information, but what is it that matters? What doesn't matter? What makes sense, what doesn't make sense? You have to have a framework for understanding and of interpretation in order to make use of the information.
In the performance sense, I find that interpretation is improvisatory in nature. You can go anywhere with an interpretation on any given day.
I can't bring you absolute truth in the detailed factual sense. All I can do is bring you an interpretation as I understand it. That's all you can ever get from an actor.
When you educate a girl, you kick-start a cycle of success. It makes economic sense. It makes social sense. It makes moral sense. But, it seems, it's not common sense yet.
There's a difference between a sense of humor and a sense of funny. A sense of humor is knowing what makes you laugh and a sense of funny is knowing what makes other people laugh. The journey of comedy, in a sense, is negotiating those two worlds.
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