Lily-Rose Depp Quotes

At Julliard, they don't teach you where to move your face for the camera, you know?

When I was doing 'All in the Family,' half the time, I was looking at where the cameras were, where were the other actors in the scene, what the audience was doing.

Well, I think one of the main things that you have to think about when acting in the movies is to try not to make the acting show.

You can see all sorts of things in film acting if you know where to look and what to look for. One thing I often notice is that the actor is looking for his mark, the place where he has to stand to be in the right place in the shot.

You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.

Film acting has been a very pure experience, because you have to give the purest form of yourself as an artist.

Movie acting is about covering the machinery. Stage acting is about exposing the machinery. In cinema, you should think the actor is playing himself, if he's that good. It looks very easy. It should. But it's not, I assure you.

A good trick I learnt early on is not to immediately look at playback because once you know the shot, you can see when the camera is on you. It's best to stay 'in it' all the time, and just if it's on you, it's on you, and if it's not, it's not. It's the easiest way.

Arnaud Desplechin invented me as an actor. I never imagined I'd be acting in movies.

'Serious acting' is the kind of acting that I don't ever respond to.

He who is incapable of feeling strong passions, of being shaken by anger, of living in every sense of the word, will never be a good actor.

As an actor, the first thing you're taught is, 'Don't look into the camera; ignore it.'

You have to find it in the moment, and that's one of the challenges of being an actor - especially a film actor - is that you have to maintain these heightened emotions for long periods of time. There's no trick to it. You just have to do.

I have no acting technique I act instinctively. That's why I can't play any role that isn't based on something in my life.

I never do anything for the camera. It's my job to pretend the camera's not there. I'm never moving for the camera.

These are rare moments in an actor's life, where you're put in an environment which is so natural, and you get natural performances.

I think what actors have to do, what performers have to do to emotionally get to that place and have a camera and have your face 20 feet high on a screen, is such an incredible thing.

It's not just about looking shocked if the scene demands it. It's about feeling that emotion. You can't lie to the camera, because it captures everything. This is what I have learnt over the years.

I don't do many films at the same time, as I don't like to switch between characters. At a given point, I would like to get into the skin of whatever character I am playing.

Directors such as LV Prasad would enact the whole scene for the actors. He used to enact the scenes for Raj Kapoor too during the filming of 'Sharda.' But it was up to you to emulate the director's vision on the screen.

When you act, it's better not to fake the emotion. It's better to find the emotion within yourself and your experiences, and see if you can bring that back to the surface, so that you can then literally hand it off to the character, and then let him run with it.

It's our job as actors to make it look like it's not manufactured. If you have two actors who understand their characters - and therefore what they are trying to portray - then all they need to do is be the characters and there's a chemistry there.

When you're in a two-shot together, you can't be the same as when you're both in singles. Try as you will, it cannot be the same as when you're in the shot together. It simply cannot be. It's physically impossible. You're behind the camera desperately wanting to help your colleague. When it's just you, on your own, it can be self-conscious in a way that you're not when we're just talking, you and I, and then all of a sudden it's me and then it's you. The two-shots were probably more natural.

You don't have to kill somebody to play a murderer. You have to read the script and interpret the character.

Learn your lines… plant your feet… look the other actor in the eye… say the words… mean them.