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Kathleen Turner explains why she wasn't into method acting: "Interviewer: What do you think about the approach of actors like Dustin Hoffman or Daniel Day-Lewis, who famously do all this intense in-character preparation in order to play a role? Turner: In 'Crimes of Passion' (1984) I was playing a...

544,481 просмотров • 4 месяцев назад •via X (Twitter)

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Robert Duvall on how he prepared for his role in "Tender Mercies" (1983) & what he wanted to bring to the characters he played through his acting: "Interviewer: You usually play illiterate guys, yet on the subject of acting, you become very articulate. Have you ever wanted to do something totally different? Comedy, maybe? Duvall: Well, I just play characters. I mean there was comedy in my role in 'Apocalypse Now' (1979), but it was comedy that came through because I played the character. If you play the character, whatever’s there will come out. Interviewer: What about Shakespeare? Would you like to take on something like 'King Lear'? Duvall: People ask me why I don’t do Shakespeare. I think I could … I know I could, but it’s never interested me. My King Lear will be when I play in Horton Foote’s 'Convicts', and my Othello was Eddie Carbone in Arthur Miller’s 'View From the Bridge'. You don’t have to do classics to give great performances. I don’t know. I’ve always had a yen to play a preacher like Jimmy Swaggart. That might be it. I’m not sure yet. Just say this: just say it’s got to be real. That’s what I’m trying to do. And that’s hard. I drove over 600 miles of road in Texas listening to accents, watching how people held their bodies, talking to farmers. Man, I wanted my character to be real. But I loved it, too. I loved talking to those people. You know, that’s what all my acting is really about. Dignity. Trying to find the dignity in the man. Because the average working man has dignity that the Hollywood establishment has overlooked. The center and, especially, the South of this country have been patronized and made fun of. Things like the 'Dukes of Hazzard' (1979-85) — man, they’re the worst. If I can do anything at all in my work to show what dignity is in the common man, then that’s what my life is really about." (Robert Duvall's interview with Robert Ward, Rolling Stone, 1983)

DepressedBergman

22,085 просмотров • 6 месяцев назад

Sigourney Weaver on what she loved about her character in "Alien" (1979): "Interviewer: Ripley is now seen as this feminist action hero. Did you think about that or the politics of your representation at the time? Weaver: What I loved about Ripley in the first one, thanks to [producers] Walter [Hill] and David [Giler], and in the second one, thanks to Jim Cameron, was that I didn't really feel like a badass heroine ever. What I felt was like you or me in this situation, [wondering] what the f**k you were going to do. It was an everyman character that could be any of us. That was very unusual at the time that a character, a woman character, went through a whole film, doing difficult things by herself, a lot of the time, and didn't have some scene where she bursts into tears and cries in a corner for a while. Because I'm telling you, in those days, they really wanted women to be sympathetic. And that meant that either you had to be in a little skirt and run around, or you had to have these scenes where you cried and broke down because they thought if you didn't that you would seem unfeminine. So I was so lucky that I avoided all of that because I was doing science fiction, because I was in the future. And I was just playing this character who was put in this situation. And it was written like a man. It wasn't written like the way they wrote women in those days." ("At 28, Sigourney Weaver Was Thrust Into An Alien World", Zosha Millman, Bustle, 2021) P.S: On this day, 47 years ago, "Alien" (1979) had its limited release in the USA.

DepressedBergman

20,477 просмотров • 5 месяцев назад

Zack Snyder on his dyslexia: "It was a challenge for me when I was, you know, young in school, and all I wanted to do was make movies because that was the thing that I got great pleasure from and reward from. I love books, and I'm an avid reader, but I just have a hard time because of the way that I perceive. "I've had a great sort of - one side of me anyways - was really satisfied by art and drawing and sculpture and sort of visual expression. And I think that that started to, you know, was the thing that kind of made me feel un-frustrated. And also the way the system was designed, sort of not to support me when I was in high school at that time. "It was very difficult, you know, there was a lot of, you know, just, difficulty. My English teacher in high school was worried about what my career would be, and I'm like. He would be happy to know that I'm in the Writers Guild of America now. "But, I think that that all those things are, they're all... you can transcend all those things with perseverance and with interest and with with help. And I think that that's an important part of it. "And I just think I've had to adapt, and sort of... I have my own style of the way I write, I write all, you know, but I'm pretty prolific. And I love- I listen to tons of audio books on tape, unabridged hours and hours and hours. That's all I do when I'm driving in the car or wherever I'm doing. And it's helped me a lot. "And yeah, I mean, I just hope that anyone who is- feels trapped or frustrated by the world in general. You know, they need to just, I think that we all have like a magic spark, and you need to just find the thing that makes you, you know, inspires you and, and gets you excited and pursue it as hard as you can find your passion in the world. That's a, that's a great motivator."

Zack Snyder Film

11,128 просмотров • 10 месяцев назад

Hirokazu Koreeda on how he directs Children: "Interviewer: I think 'Shoplifters' (2018) is very remarkable in showing different sides of a city and like you said, people who are pretty much invisible, but I do want to also commend you on another thing, is you often work with young actors, and they always tend to have a significant role in many of your films. How do you go about finding such dynamic young actors, and why do you often put these young people at the center of each one of your stories? Koreeda: First of all, I would say that I tend to make what I would call family dramas, and of course, you have to have children if you’re creating a family, but that’s how it started, but I found that as I did it, I became really interested. It became very interesting and fun to work with these children, and for example, the two children in this film, neither of them had any acting experience at all before this film. I brought them in, and what I find when you bring these children in, and you work with them is that the adult actors change. They become much more lively and natural in the way that they act, and I guess, at some point, I realized this, and I guess, became really attracted to the idea of having children and the impact that it had. Interviewer: Do you find that there is any struggle in terms of working with young actors, or in this case, young children who have not actually acted before? Koreeda: Just to clarify, I have worked with children in many of my films, and all of them have never had experienced before. I always go out and pick non-acting children to work in my films, so just, I wanted to put that out there. In terms of the struggle, it does take time. You have to give extra time to work with these children. When I choose these children, I have an audition, and I pick out who I want to the audition, and then when we get to set, I never give them the script. No child that I’ve worked with has been given a script beforehand, and when I get to the actual part where they’re going to be acting, I give them the lines myself, and work with them and coach them. What I find is that it’s actually really enjoyable, both for them and for myself that way. I also, because I’ve been doing this now for several years, I tend to have a fairly high success rate in choosing children that are able to work with me in that way. Interviewer: That’s fascinating, and it also shows how you are able to create such authentic performances from these child actors over and over again in so many of your films. I think it’s a unique gift that you have, and it’s something that very few directors, I think, here in the United States do. Koreeda: It’s true, I guess by working with these children, I learned. I discovered that the best way to do it was just to communicate verbally their lines, rather than giving them in a written format, and over time, this really worked, and so I just kept doing it. But, interestingly, I loved the movie 'Kramer vs Kramer' (1979), directed by Robert Benton, and one time I bought the movie with all the extra, the making of and everything, and I went over it, and I found through that, that in fact, the child in that movie was also given his lines every day by the assistant director each morning when they came in to set, so I discovered that it wasn’t just me that was doing this." (Koreeda's interview with Scott Menzel, We Live Entertainment, 2018)

DepressedBergman

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AFP’s Danny Kemp: “Mr. Vice President, you presumably watched the video yourself. There’s not the slightest doubt in your mind, having viewed it, that this the victim — you still believe that she deliberately tried to ram him despite despite seeing this video?” Vice President JD Vance JD Vance: “Look, I don’t know what it’s in a person’s heart or in a person’s head. And obviously, we’re not going to get the chance to ask this woman what was going on. What I am certain of is that she violated the law. What I am certain of is that that officer had every reason to think that he was under very serious threat for injury, or in fact, his life. What is I’m certain of that she accelerated in a way where she ran into the guy. I don’t know what was in her heart and what was in her head, but I know that she violated the law, and I know that officer was acting in self-defense. That’s raises an interesting point, though. Look, if people want to say that we should have a legitimate debate about, you know, what was she really doing, right? Was she panicking when she drove into this officer, or was she actually trying to ram him? That’s a — that’s a reasonable conversation. What’s not reasonable is for so many of you to plaster all over the media that this was an innocent woman and that the ICE agent committed murder, which is what many of you have said explicitly, and some of you have said implicitly. That’s what I have an objection to. The idea that this was not justified is absurd and I think everybody knows it in their heart.”

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Chris Bosh explains how Kobe Bryant taught him that greatness is mostly an unglamorous routine “If you’re trying to go after something, it’s a process and you cannot cheat it. That is one thing you cannot do. You can’t cheat the process, and even then that doesn’t guarantee you anything. You have to have your stuff together because you want to win, that doesn’t guarantee a win. You just have to make sure you’re doing your process.” “I had the chance to have a conversation with Kobe. We were friendly and we tried to have dinner once a year. He always talked about loving the process of what you do. That’s important. You have to love what you do and love putting the work in because some days are going to suck. It’s always going to suck to go in the gym and shoot 10,000 free throws.” “Everybody’s like, ‘Oh, Kobe, this is amazing.’ He’s like, ‘Yeah, that’s cool, but think about my day. I get up at 4:30am, take my kids to school, I lift weights, I go to practice, I pick them up from school, then I’ve got to do treatment because I’m 35 years old in the league. Then I’ve got to do treatment, and by the time I finish all that stuff, the day’s over. I don’t do anything else. This is all I do.’” “If you take on that approach to something that you love, if you can stick with it even in those tough days, that’s where you want to be.” “You gotta love the grind, man. That’s the part I always like to think of anytime something gets hard. If I’m pursuing a goal and I want to quit, it’s going to come. It’s going to come. It’s okay.” “How many people would quit right now? That’s the first thing I think about. Then I keep going. I’m like, okay, I’m not going to let this drop me off and keep me away from what I’m doing.”

Josh Chambers

42,578 просмотров • 2 месяцев назад

Inspired talking about Skewmond and" the best jungler in the west" debate Q: Everyone was talking a lot of Skewmond, and I would like to know about: do you believe like the series put an end to any debate about the best jungler in the West? Inspired: To me, there was never a debate. I knew that I’m always the best, but I think Skewmond is a good player. I wouldn’t say that he had any phenomenal series, though, this tournament. I think he, against T1, he still made a lot of mistakes. When he was stronger, he didn’t really try to fight enemies, and or sometimes just over committed a bit, and I think G2 won against T1 just by waiting for T1 to make mistakes. I think today, I think Skewmond played well in the team fights. I think every time he was on my screen and we’re like skirmishing and team fighting, I think he did a good job. But I think just like team wise, and like how they all played together as a team and use their jungler was wrong. And it’s hard to say, as I always said, that don’t really know who’s there like which jungler is good because you don’t really know what was his idea beyond the game plan, what his teammates wanted to do. But it just seems like they were not connected well enough, and on top of that, as I said, I think the drafts were not that great. So yeah, I think he’s a good player, but I think they need to work more on team synergy in order to actually pressure when they’re strong if they want to be like the best in the world, because I think they definitely can, but need to work a bit more. Source:

Yujin

111,070 просмотров • 4 месяцев назад

Gena Rowlands explains the reason why "A Woman Under the Influence" (1974, Cassavetes), which was first written as a play, was made into a movie: "Rowlands: John wrote it as a play. He said, “Hey, I wrote you a play.” And I said, “Great, let’s read it.” I read it and I said, “John, I couldn’t do this every night and twice on Wednesday and Saturday. I wouldn’t be able to last two weeks. I’d die.” It was a very hard play to do every night. And he said, “Don’t worry. Don’t even think about it, you’re right. I hadn’t thought of that.” He said, “Just forget it.” Then in about two weeks he said, “Okay. I solved the problem. I wrote a different play for you.” He said, “So you won’t have to carry all of it every night. I used the same characters but I enlarged different parts of the scenes.” He changed it generally to make it humanly possible. And I said, “Oh, that’s a miracle, let me see it.” And I read it and I said, “Listen, you must know a lot of strong actresses!” [laughs] I said, “I still wouldn’t be able to do it. This is really hard.” She has a nervous breakdown—there’s a lot of things that are hard emotionally to do. So he said, “Okay. I’m going to write it as a picture.” I said, “I think I can get through it once.” [laughs] “But I’m not making any guarantees.” He thought that was funny and then he wrote it thinking like an actor too instead of just a writer. I think he took that into consideration. And it is, of course, much easier to do a film when you’re doing an extremely emotional part than it is doing it onstage over and over especially. Interviewer: Do you consider that to be your most challenging role? Mabel? Rowlands: Well, yes, it was my favorite. I loved doing that. And it was challenging. Interviewer: Since John gave you so much freedom to do what you liked as a character, how would you go about finding them? Was it something that was instinctual for you, from the script? Rowlands: I read the script, you know, 50 times. And I thought about it. And then I did it. [laughs]" (Gena Rowlands' interview with Colleen Kelsey, Interview Magazine, 2016) P.S: Remembering the great American Actress Gena Rowlands on her 96th birthday!

DepressedBergman

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