A Quote by Sam Taylor-Johnson
I'm interested in the acting and staging of specific emotions, and so I work with actors. It's a small proportion of what I do, but it's always what people seem to focus on.
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You've got to remember that improvisers are writers and actors and directors all simultaneously. That's what's happening in real time because you're writing on your feet, and you are acting out the words and you are directing what the staging is. You're deciding what staging is.
Before I got into acting, I was always interested in psychology, which I think is very common with a lot of actors because in a weird way, psychology and acting kind of seem interwoven.
Well, in the general population, we find differences between the typical male and typical female. For example, males seem to be more interested in systems and females seem to be more interested in people and particularly people's emotions.
I'm always interested with other actors in what their process is, and are they still interested in acting, as opposed to being a star.
Any work I do I think is important...like in acting there are no small parts- only small actors.
The studies I've seen about readability and legibility tend to focus on a specific set of metrics: size, not just the point size, but things like the size of the lower case letters as a proportion of the overall letter height, and line length. People simply can't read really small type set in really long lines.
I'm really not interested in acting as a facade, I'm interested in it as an emotional expression and as a transcendent experience for an individual. I find that a lot of people, a lot of young actors, haven't gotten to the point where they're comfortable being stripped down. They're still interested in ornate jackets.
I've been a teacher all my life. I've had my own dance studio, my own acting studio for 18 years out here... I'm just a natural teacher. I teach on all my healing work now. I think actors teach any time they work anyway. We're teaching emotions, we're teaching how to deal with emotions, we're teaching how to get around issues and deal with them. Actors are some of the best teachers in the world, because they're teaching you through entertainment, and you don't know you're getting a message.
Acting has always been something I've wanted to get into. I think the best models are actors; you're taking on a character. In that sense, I have been acting for a long time. It didn't seem like a crazy transition.
There is an art to acting, and there are techniques that are acquired. You can be as emotional as you'd like, as a person, but figuring out ways that you can bring specific emotions at specific times and have them be true, and relating to someone as someone that they're not, is a lot.
But the focus for actors is always towards acting. It is very obvious that they don't need to have training in professional music.
Acting is a child's prerogative. Children are born to act. Usually, people grow up and out of it. Actors always seem to me to be people who never quite did grow out of it.
When I work on a movie, I never aim for records, collections or the number one position. I always concentrate on my work and look for ways to improve my acting abilities. I also advise my co-stars not to concentrate on these pretty issues and just focus on acting.
I call this book The Intent to Live because great actors don't seem to be acting, they seem to be actually living.
I had been interested in trying acting, and, like, I went to school with actors and whatnot, and I was interested in the craft but didn't really push myself to do it.
Acting is a funny job because you're always playing a hundred levels of pretend, but when you're working with great designers who end up doing a lot of that work for you, you can focus on the things you want to focus on.
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