Death ends a life, not a relationship.
Jack LemmonRead
If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. [You must] reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.
Interpretation
To truly connect with an audience, an actor must be emotionally open and vulnerable.
This quote by Jack Lemmon emphasizes the importance of emotional vulnerability in acting. An actor who seeks to satisfy both themselves and their audience must be willing to expose their innermost feelings and thoughts, allowing for a deep connection that transcends mere performance. By being emotionally 'stark naked,' an actor can convey authenticity and relatability, which are essential for creating impactful art that resonates with viewers.
In practice
This quote can be used in a workshop on acting techniques to encourage students to embrace vulnerability.
Death ends a life, not a relationship.
It's hard enough to write a good drama, it's much harder to write a good comedy, and it's hardest of all to write a drama with comedy. Which is what life is.
Dying is not a sin. Not living is.
Failure seldom stops you. What stops you is the fear of failure.
I have lost someone I loved as a brother, as a closest friend, and a remarkable human being. We have also lost one of the best damn actors we'll ever see.
If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable.
Architects work in two ways. One is to respond precisely to a client's needs or demands. Another is to look at what the client asks and reinterpret it.
To a poet, it's quite ruinous to have a poem distorted, out of shape, or squeezed, shall we say, into this tiny screen. But I'm not sure big digital companies are sensitive to the needs of poets.
Music is everybody's possession.
I know that one of the great arts that the writer develops is the art of saying, 'No. No, I'm finished. Bye.' And leaving it alone. I will not write it into the ground. I will not write the life out of it. I won't do that.
We write from aspiration and antagonism, as well as from experience. We paint those qualities which we do not posses.
I'd much rather wait till my material is up to par, in my opinion, than rush it just so I can stay in the limelight a little longer.
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