actor's performance Quotes

The truth is, an actor's performance is the result of work by a lot more people than just the actor. When you see that character portrayed up on screen, there is the work certainly of the actor, but there's the work of the editor, there's the work of what the camera was doing. What the music was doing, all of the above.

The experience of shooting a film is about the script, the captain of the ship who is the director, and the way they push their actors and teams to give their best. It's not about the language and the region.

Performance is made in the editing room, and I've come to see the truth in that - the idea that they say performances are usually made in the editing room because what you film is the raw material. I think just going through the process of saying, "Which take do we use? Why is that the take we want? I want that take can you edit again, I'm not sure that's the one, I think it's this one." And just because you go through that process, I think somehow it's made me sort of more open about the [actor's] possibilities.

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.

I think often I learn the most from other people's mistakes. If I'm in the audience watching an actor and thinking, 'I don't believe you,' I spend the rest of the play working out why I don't believe them.

Actors, lots of times, are great when they have great parts. For me, a lot of times, it's been the part.

Actors' performances in films are enhanced in a million different ways, down to the choice of camera shot by the director - whether it's in slow motion or whether it's quick cut - or... the choice of music behind the close-up or the costume that you're wearing or the makeup.

I think a director is hugely responsible for the fate of a film, so if it does well, he should be appreciated. As an actor, I can only perform well or choose to work with a good director in a good film.

I would love to work with Ron Howard. I think he is brilliant. I love the stories that he chooses. Theyre always very personal and intense. He loves a lot of emotion, and hes so well equipped to pull all of that out of the actors. I really love that kind of thing and I think thats what movies should be about.

I think movies say a lot [about real life], even more than theater. It says a lot about the invisible, that movies are so fascinating. The camera lens is like a microscope that goes beyond the surface. It's like you're exploring a secret, so you explore the director's secret, you explore the actor's secret, and therefore you explore the universe's secrets.

Certainly as an actor, half of your work is not going to end up on the screen anyway, because in the editorial process, they need to cut to the other actor in the scene. Very often, your best work ends up on the cutting room floor, because it just doesn't work with the overall narrative drive of the story.

Performance capture is a technology, not a genre; it's just another way of recording an actor's performance.

In 'Reggaeton' in particular, I get the opportunity to show my range as an actor. I have scenes where I cry and a love scene. I think people may be pleasantly surprised at what they see.

Screen work always boils down to that moment between the camera and the actor or the actors. It always boils down to that, ultimately. You serve the camera.

I like to believe that my actors are not acting. That whatever they are doing, or whatever has been said, would happen in real life.

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.

If you try to write something that's memorable, you'll never get it. Sometimes it's the way the actor says the words that make it memorable.

When somebody can't reveal what they're after - whether by word or by how the camera is set up, lighting, etcetera - it's like an electronic beep beep; it interferes very much with what we actors can do. And, after all, the director wants the actors to be bringing forth the best that they can, according to whatever vision he has.

The balance of the frame - the way an actor is relating to the space in the frame - is the most important factor in helping the audience feel what the character is thinking.

I don't attribute an actor's great success to their own individual performance when it's something as collaborative as a movie.

There's something really incredible about watching what someone else does with a role that we know: the Hamlets or the Henry Vs or the Othellos or the Cleopatras that we've seen on stage.

I'm a huge fan of the director, Alejandro González Iñárritu, and his work, and I knew he was going to be an amazing actor's director, based on the performances that I saw in his movies.

What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.

The most interesting part of filming is what the actors do. That's the primary link between the story and the audience.

The director's job is to know what emotional statement he wants a character to convey in his scene or his line, and to exercise taste and judgment in helping the actor give his best possible performance.