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.
Animators can only draw from their own experiences of pain and shock and emotions.
Before I compose a piece, I walk round it several times, accompanied by myself.
I'm happy to stick with my persona. There are themes of love lost and love regained, but the main themes of all poems are basically love and death, and that seems to be the message of poetry.
In my career as a director, there's always been some point where you get halfway through it, or three-quarters, and you go: 'What is this thing all about, and why am I telling the story? Does anybody really care about seeing this?' At that time you have to say: 'OK, forget that and just go ahead.'
I want work that, possessing as thin a membrane as possible between life and art, foregrounds the question of how the writer solves being alive.
When I design and wonder what the point is, I think of someone having a bad time in their life. Maybe they are sad and they wake up and put on something I have made and it makes them feel just a bit better. So, in that sense, fashion is a little help in the life of a person. But only a little.
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