You cut off the capacity for grief in your life, and you cut off the joy at the same time. They both come up through the same tunnel. You don't have one without the other.
William HurtRead
It was the moment I learned acting is not acting out. After that light went on, I spent the rest of my life trying to figure out how to make other people realize it.
Interpretation
Acting is about authenticity and depth, not just surface performance.
In this quote, William Hurt reflects on a pivotal moment in his understanding of acting, emphasizing that true performance is rooted in genuine emotion and connection rather than mere mimicry. He suggests that once he grasped this concept, he dedicated his life to helping others understand the importance of depth and truth in their portrayals, underscoring the transformative power of genuine expression in the art of acting.
In practice
In a theater workshop discussion about performance techniques.
You cut off the capacity for grief in your life, and you cut off the joy at the same time. They both come up through the same tunnel. You don't have one without the other.
You get older, and people start passing away. And so if you're lucky - my mom died very young, for instance, and I have friends who died very young - but the point being that, I think if you're awake, you know you're going to pass on. And that the real treasure in life is the long term - relationships that you really value.
But I am not going to live for ever. And the more I know it, the more amazed I am by being here at all.
I'm coming from the notion that acting is an art. It is not a business. It is about building characters, not about selling personalities.
The problem with Google is you have 360 degrees of omnidirectional information on a linear basis, but the algorithms for irony and ambiguity are not there. And those are the algorithms of wisdom.
The enemies of acting are mood and attitude and other general homogenized disruptive entities. Whereas acting is about action - doing - and unless you can figure out a way to craft in an imaginative reality to which you don't submit, you're going to be out of control. You'll flip out. The job is to be surprised.
I am always worried that over-planning and outlining will kill the magic of writing; most of the world I created in 'California' occurred via good old sexy sentence-making.
There is an audience out there for literate films - slower, more observant, more human films, and they deserve to be made.
I discover poetry when I was in elementary school and I was so fascinated by it. Because I realised if you get the right amount of syllables and the right amount of words, in the right rhyme scheme and you put it all together. You make words just bounce of a page.
I'll go to the movies and hear 'Angel From Montgomery' in some film, and nobody ever even told me about it. They don't tell you your stuff is going to be in a movie. They don't have to, so they don't tell you. You get paid eventually.
Technique does not constitute art. Nor is it a vague, fuzzy romantic quality known as ‘beauty,’ remote from the realities of everyday life. It is the depth and intensity of an artist’s experience that are the first importance in art.
To burn always with this hard, gemlike flame, to maintain this ecstasy, is success in life . . . Not the fruit of experience, but experience itself, is the end . . . For art comes to you professing frankly to give nothing but the highest quality to your moments as they pass, and simply for those moments' sake.
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