My strength is with actors. I think I'm good at working with them to get the best performances, at seeing what it is that they have and that the story needs.
Sydney PollackRead
When you rehearse a play, you spend four weeks with one goal in mind - to wean the actor away from you. You want the actor to become completely independent and to understand all the emotional and psychological moves within the character.
Interpretation
The goal of rehearsing a play is to help actors develop their independence in understanding their characters.
In this quote, Sydney Pollack emphasizes the importance of rehearsal in theater as a process designed to cultivate an actor's independence. Rather than simply following directions, the actor must immerse themselves in the nuances of their character's emotional and psychological landscape, ultimately leading to a more authentic performance. This independence is crucial for the actor to truly embody the role and convey it to the audience.
In practice
In a drama class, when discussing the importance of rehearsal.
My strength is with actors. I think I'm good at working with them to get the best performances, at seeing what it is that they have and that the story needs.
And I taught acting for years, and without knowing it that was the real thing that started bending me toward directing.
If you have a career like mine, which is so identified with Hollywood, with big studios and stars, you wonder if maybe you shouldn't go off and do what the world thinks of as more personal films with lesser-known people. But I think I've fooled everybody. I've made personal films all along. I just made them in another form.
It's my job to motivate the audience to believe. I have to get them to suspend their judgment in favor of involvement.
You hope that the responsibility of making movies will fall into the hands of essentially moral people.
Making a movie is a network of decisions that keep multiplying as you go. You leave a trail of decisions behind you, and that's how you start to see the shape of what you've done. When you get far enough, you turn around and say, 'Ha, that's the movie.' It's only then that you find out if it's going to work or not.
You've got a song you're singing from your gut, you want that audience to feel it in their gut. And you've got to make them think that you're one of them sitting out there with them too. They've got to be able to relate to what you're doing.
I do most of the cooking in my head.
When Coleridge tried to define beauty, he returned always to one deep thought; beauty, he said, is unity in variety! Science is nothing else than the search to discover unity in the wild variety of nature,-or, more exactly, in the variety of our experience. Poetry, painting, the arts are the same search, in Coleridge's phrase, for unity in variety.
The best artist has that thought alone Which is contained within the marble shell; The sculptor's hand can only break the spell To free the figures slumbering in the stone.
I make a discovery in a poem as I write it.
Sashimi is velvet dust, verging on silk, or a bit of both, and the extraordinary alchemy of its gossamer essence allows it to preserve a milky density unknown even by clouds.... my cheeks recalled the effects of its profound caress.
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