A Quote by Vanessa Redgrave

One of the joys of cinema is that, given the right circumstances, and the genius director, an incredibly wonderfully actor can become the embodiment of his character. — © Vanessa Redgrave
One of the joys of cinema is that, given the right circumstances, and the genius director, an incredibly wonderfully actor can become the embodiment of his character.
For me, as an actor, there is no commercial or independent or art cinema. For me, it's a character that is given by the director. And it is a task for me that I have to fulfill it to the best of my ability regardless of the kind of film that it is.
When a director from Hindi cinema is looking for an actor from another language, it will be only because he feels the character justifies this and that can only be for a well-written character.
I think each character is different for me, but I am a director's actor. So if I get the right vision and right guidance from my director, I think sky is the limit for me.
It is my first preference to do films with social significance. Art cinema has given me credibility and status as an actor, but commercial cinema has given me a comfortable living.
An actor puts himself in the hands of a director. And the director's first responsibility, obviously, is to tell the story, but the smallest thing that's not true reads on the screen. So if a director sees that an actor is not believable, he needs to help him become believable.
Well, first of all, you read the script a million times. Because what the script gives you are given circumstances. Given circumstances are all the facts of your character.
The thing about genius is it will never yield to circumstances. Genius regards what's given as the beginning of its need to find or devise something else.
The director is the most important because, ultimately, as an actor, when you watch a movie, it looks like an actor is giving a performance, and they kind of are. But, what's actually happening is that an actor has given a bunch of ingredients over to a director, who then constructs a performance. That's movie-making.
Actors always direct themselves. A good actor shows up onset ready, especially in television, and you've done your homework and you know your character. The director may have some variation on what you're thinking or they may have a different interpretation of the scene. So you come prepared to shoot and you've given yourself notes. In television, it may be the first time you're meeting this director and you've been living in this character's skin for a couple of years. It's always great to have fresh perspective and fresh insight, but no one knows your character better than you do.
The director's job is to know what emotional statement he wants a character to convey in his scene or his line, and to exercise taste and judgment in helping the actor give his best possible performance.
THE SUFFERING OF GENIUS AND ITS VALUE. The artistic genius desires to give pleasure, but if his mind is on a very high plane he does not easily find anyone to share his pleasure; he offers entertainment but nobody accepts it. That gives him, in certain circumstances, a comically touching pathos; for he has no right to force pleasure on men. He pipes, but none will dance: can that be tragic?
The difference between being an actor and a director is simple. The director has to hide his panic; the actor doesn't.
A particular train of thought persisted in, be it good or bad, cannot fail to produce its results on the character and circumstances. A man cannot directly choose his circumstances, but he can choose his thoughts, and so indirectly, yet surely, shape his circumstances.
I love the variety of films. In theater, you go into a room and the director runs the room, so you all work to his or her method. On film, if an actor or an actress is in for a day or two, the director has to get out of that actor what they need, so they have to change and adapt to that actor's technique.
In sheer genius Pascal ranks among the very greatest writers who have lived upon this earth. And his genius was not simply artistic; it displayed itself no less in his character and in the quality of his thought.
Given the right set of circumstances any one of us could become dangerous - so why not show that in our programmes?
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