A Quote by Stellan Skarsgard
I've got a lot of weaknesses. One of them is that I often get scared and tense when I'm working - and fear is one of the big threats to any good performance, because it closes you down and makes it harder for you to produce life in front of the camera.
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McLeod's Daughters was my first regular job out of drama school, and my first full-time role. That was great because I learned a lot, in terms of working in front of the camera. I learned a lot of technical aspects that you take for granted once you know them, but you have to learn them somewhere, along the way. It was a bit of a training ground for me, working in front of the camera and also dealing with media.
I really trust the authenticity of real people and my job is to get them to be themselves in front of the camera. Often what happens is, you'll get a newcomer in front of the camera and they'll freeze up or they imitate actors or other performances that they've admired and so they stop becoming themselves. And so my job as the director is just to always return them to what I first saw in them, which was simply an uncensored human being.
The need to be a great artist makes it hard to be an artist. The need to produce a great work of art makes it hard to produce any art at all. . . Fear is what blocks an artist. The fear of not being good enough. The fear of not finishing. The fear of failure and of success. The fear of beginning at all.
'Happy girls are the prettiest,' and to be in the camera frame makes me happy. I just want myself to keep working. I can be in front of the camera for 48 hours continuously without any breaks.
When I like someone a lot, I get scared that I'll let them down. My fear of sucking is worst when I feel like someone thinks I'm good.
When critics or people judge, I think it's harder to make a commercial, pop movie than it is to make a pretentious art film. It's harder to reach millions of people and satisfy them and make them happy. These films kind of get ghettoized, this genre because there are so many big, big movies that are such big hits, but aren't any good. The audiences, they're not judging the style of the director, or the execution of the film. They're just looking to be entertained. They want to escape from their reality, and that's why we make movies, to get people to escape from the realities.
Children, a lot of times, can't make their parents wrong because they have to live with them, because they have to love them. And when you're young, you can't get on your Big Wheel and go down to the Best Western. You've got to live there and you've got to figure it out.
You are covered in blood," Tybalt said again, stressing the words harder this time. "It makes me tense." There was a thud as the guard hit the floor, and Tybalt returned to my side. "Wow. You must be tense a lot." He sighed. "You have no idea.
A lot of people are scared. It's the way you're raised. The way you've been told your whole life, that you've got to do this and that. Get a job, go to school. So, a lot of people are scared to just do what they really want. They're worried about what people will think and stuff like that. It's just fear.
I think that it is useless to fight directly against natural weaknesses. One has to force oneself to act as though one did not have them in circumstances where a duty makes it imperative; and in the ordinary course of life one has to know these weaknesses, prudently take them into account, and strive to turn them to good purpose; for they are all capable of being put to some good purpose.
What I love is a good role. In the theatre, there is just a canon of extraordinary roles, the quality of character is amazing, but I also love working in front of a camera. It was the first one for me; as a kid I was in front of a camera. I feel at home.
'Hollyoaks' is where I learnt a lot of the craft, being in front of a camera six days a week. That's certainly an experience you don't get in drama school. It invites you to be comfortable in front of the camera.
This is the blessed life-not anxious to see far in front, nor eager to choose the path, but quietly following behind the Shepherd, one step at a time. The Shepherd was always out in front of the sheep. He was down in front. Any attack upon them had to take him into account. Now God is down in front. He is in the tomorrows. It is tomorrow that fills men with dread. God is there already. All the tomorrows of our life have to pass Him before they can get to us.
I'm comfortable in front of a camera, and I'm used to being watched, although that kind of bugged me at first. On the stage, though, I'm scared. I really get frightened in front of people.
Try to relax, and you will find out that you feel more tense than ever. Try harder and you will feel more tense and more tense. Relaxation is not a consequence, is not a result of some activity; it is the glow of understanding. This is the first thing I would like to relate to you: life is purposeless. It is very hard to accept it. And why is it so hard to accept that life is purposeless? It is hard because without purpose the ego cannot exist. It is hard to conceive that life has no goal because without any goal being there, there is no point in having a mind, in having an ego.
A huge part of what we do as actors is learning to ignore the camera, as if it's not even there, while simultaneously being very aware of the camera and what it's capturing, because you can give the best performance of your life, but if you do it with the back of your head facing the camera, it's going to get cut from the movie.
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