A Quote by Zal Batmanglij
A director really doesn't deal with performance that much, especially if you deal with great actors. Their work is the performance. What you're helping them with is all the stuff they cannot be in control of.
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When we deal in generalities, we shall never succeed. When we deal in specifics, we shall rarely have a failure. When performance is measured, performance improves. When performance is measured and reported, the rate of performance accelerates.
Film is mostly a visual medium, and so the director has much more control in terms of painting pictures and painting a performance. For theater, the director does everything he can and then says, 'Out you go,' and the actors are in charge of that stage every night.
The debate can be put in the form of the question: Resolved, that the best of money managers cannot be demonstrated to be able to deliver the goods of superior portfolio-selection performance. Any jury that reviews the evidence, and there is a great deal of relevant evidence, must at least come out with the Scottish verdict: Superior investment performance is unproved.
Comedians work great as actors because they're good under pressure. With a lot of actors, you have to make them feel like everything's going really well to get a good performance out of them. But, if you have a comedian on the set, you can tell them, 'Hey, you really are screwing this up,' and then they just get better.
It is much more difficult to measure non-performance than performance. Performance stands out like a ton of diamonds. Non-performance can almost always be explained away
I think the actors in 'Greystoke' were amazing. They had a really good performance coach called Peter Elliott who's, of his time, one of the greatest simian performance coaches for actors.
You cannot judge the performance of an actor in isolation. A performance becomes good because of so many factors, including the other actors.
I've worked with actors before where I was like, this is not working, and then I've seen their work on the screen and I've been like, Wow, that was a really great performance. Because there are a lot of elements with film. It's not like stage. It's not a kind of performance art anymore; it's a highly tuned kind of collaboration - a symphony.
To go into more specifics regarding actors, whether they're from Korea or the U.S., all actors know if they are loved by the director. When they feel that love from the director, they respond by giving a great performance on camera. Also, everyone on set - the crew, the actors - they were aware of the film's message and its broad theme, so these big issues were never discussed on set.
Grown-up people do very little and say a great deal.... Toddlers say very little and do a great deal.... With a toddler you cannot explain, you have to show. You cannot send, you have to take. You cannot control with words, you have to use your body.
Herzog and Malick both have this very unique naturalist intentionality to their process. It's about creating the mood, creating the focus and having discipline, but not prescribing what the performance was supposed to be. Neither of them are really directing their actors into a performance.
The apex of perfection in equestrian art is not an exhibition of a great deal of different airs and movements by the same horse, but rather the conservation of the horse's enjoyment, suppleness and finesse during the performance, which calls for comparison with the finest ballet, or performance of an orchestra, or seeing a play by Racine, so moving is the sight of perfectly unisoned movements.
Film is such a director's medium; you're really in their hands in terms of the real storytelling. As an actor, you can give a performance moment to moment and some of your takes will be used and some of them won't. I think there are great films you can make with bad performances, and vice versa. There are all combinations of those things. It's really down to the director what happens, I think, so that's why it's really good to work with very talented, bold directors.
It's difficult because you can't generalise about these things. But in essence, you deal with children as simply as you deal with actors - you have to show a certain sort of respect. You deal with them lovingly and protect them, but if you protect them enough then they're open to engage with what you want to do with them.
I've been really lucky to work with a lot of really great actors, so watching the films back, it's really important to admire the people that you were working with and see their full performance.
What I love about analogue is it really forces you to go for a performance. I hear these young bands play perfect and they've been manipulated so much that there's not much personality to them. It's taken away some of the rawness and immediacy you get from a human performance.
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