A Quote by Gore Verbinski
For me, some of the happiest moments on a live-action film are the awkward moments. One actor says something to another actor. They didn't expect that performance from that actor; that affects their return performance.
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I feel whatever an actor does on screen is something the actor 'does,' and what the director can do is to tell, talk or instruct. So, all the credit for an actor's performance goes to the actor alone.
You can say something that can really help and actor and you can say something that can really get in the way of an actor's performance, kind of cut them off from their instincts and really get into their heads. And every actor's different. Every actor requires something different. Being an actor, for me, was the greatest training to be a writer and director.
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.
Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.
An actor is an actor. There should be no labelling - mainstream actor, art film actor, serious actor, comic actor.
The next actor I meet that uses the term 'courageous' to describe another actor's performance is getting punched in the face.
Performance capture is a technology, not a genre; it's just another way of recording an actor's performance.
A lot of games and voiceover projects, they're not giving the actor a lot of context. The actor, no matter how good they are, might not be able to deliver a performance that fits the action.
That's the only way to do it. Just like an actor. You can get a great performance if you do a bunch of takes and edit it. You find the moments and string them together.
I think, when someone say, "When did you feel like an actor?" it's those moments when I feel like, "I'm an actor, wow." That's an extraordinary moment for me. So it's not like I walk around going, "I'm an actor."
TV and films are same for me. I took a decision to be an actor, and I am an actor. I never decided to be TV actor or film actor.
Claude Rains was what we call an actor's actor. He was very involved with himself and his performance.
I made my performance debut in New York City downtown on the Lower East Side in college doing awkward performance art as a go-go dancer at Lady Starlight's Party. And I never thought that my love for mediocre performance art and bad mime would ever come to use in my career as an actor. But my fantasies came true and I got to play Maureen in Rent.
It is one of the few elements in the process that a director really, really can't control: an actor's performance. If you have a director that understands that, it's comforting to an actor. You're starting the relationship more as a collaborator, rather than as an employee or some kind of a soldier trying to execute something you don't organically feel.
As an actor I can bring the story, the narrative in each performance. If I can't do that, then... might as well give up as an actor, hadn't I?
It's incumbent upon a director, if you want to pull the best performance out of an actor, you have to really work to who they are and how they work and not just expect them to hit a mark every time. You have to be very adaptable in the approach that you use with every different actor.
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