emotionalism our minds
affective memory find emotions subconscious
emotion motivation scripts
Feelings are the stuff we work with.
Feeling is where actor's talent lies.
you must be overcome with feeling.
To imagine things
happening in your feelings.
- 80% feeling, 20%
technique and devices...
- Acting: emotion
that best fits
the scene. Don't try to play effects
of scene. If you work without emotion, it will look like acting.
Can't lie, can't do it without passion. True feelings,
true objectives. Not to be artificial, but be real.
- Acting is done by feelings;
you are a subjective person.
- Acting is feeling. Find
what is dramatic. Audience only watch, they don't
- Acting talent is to
imagine things happening in your feelings.
- Actor can't stop feeling.
What is it to be a performer? Dies when not emotionally
with your whole body,
are going, use your voice
and don't bury dialogue
trying to be natural.
Use color, don't mumble.
How to make it special, how to illuminate it. As an actor be a chef, be
- All about feelings.
Get it down to your feelings. Just be involved, don't dream up things.
- And feel free to try all different things. Act
with your body, not just your feelings
and your mind, let your body behave too.
- Audience will only respond to feelings.
- Avoid trying to show the audience what you want them to
- Big feeling, can't be a
little happening, who cares.
- Brains don't make actors, feelings
make actors. Know when to leave scene.
- Clock in head: time allowed
with how much feeling you can put into that time.
- Difference to what is in your head to what is in your
- Director: I'm picking this
objective to help actors show a certain feeling.
Don't act without
Turn your talent loose.
- Don't be in a hurry to speak as an actor, movies aren't about
talking, it's feeling and thought.
try to reach other actor by leaning. Reach
with will, brain and feeling,
not by distortion of yourself.
- Driven by feelings.
- Emotions (feelings) are
separate from thoughts (objective).
- Every frame must be filled with content:
all about feeling.
- Feeling in body, not an
- Feel a 100 %, give 90 %.
- Feeling is the whole
motive, if you don't have it you can't play the scene.
- Feeling people, it can come
out through the face. There are people who feel, but it
can't come through. Translucency of face.
- Feeling person all the time
is how to be performing.
- Feelings large enough to
destroy you. Can not act without an emotion, more important than words,
even the objective.
- Feelings, not about being
- Feeling your way with awareness: What is said, how does it effect me?
- Fill the room with atmosphere and
- Get your body going with what you feel.
- Give into feeling. Effort
of character is not to go to pieces.
- If you feel 100% leave 10%,
don't lay it all on the table. Let the audience do part of the work.
- If you work without emotion, it will look like acting. Can't
lie, can't do it without passion. True feelings, true
objectives. Not to be artificial, but be real.
- Imagine things then effect feelings.
- Imagining things and have them happen in your
- Intelligent, but not capable of acting. You must get
emotionally involved. Acting is about feeling.
- Intention: make you feel.
- It's a bore to watch people think. It's better to watch them
feel. 80% feelings, not intellectual.
- Lead with your feelings not
- Make a thing entertaining in
- Movie acting: eyes are most important. They reflect
- No awareness of self is good acting. If you go back in your
past, you are aware of self. Total abandon from actor. Instrument vibrating with
- No body is interested in deep thinkers, act with
feeling. Feeling not
intellect. Don't make pictures, be the character. It has nothing to do with actuality.
This is where Strasburg was totally wrong. You don't have to experience something to be
able to act it.
- Not minimal feeling.
- Overcome resistance of feeling.
Give into feeling. Effort of character is not to go to
- Play person who has feelings.
- Simple, honest,
vocal. Don't start acting, once you remind audience you're an actor it's over. Cannot take
every big moment and turn it into radio. Vocalize, make it loudly. The problem is to deal
with big moments. They don't have to be loud. First
beginners try to do tricks with face. Instead, substitute for feelings.
You can't act with face.
- Stir the imagination of audience with feeling
- Stop acting, get involved emotionally, can't act with brain,
must be feeling.
- To act you must be overcome with feeling.
- To imagine things happening in your feelings.
- Vibrate with feeling.
- What are feelings?
- What does my character feel?
- Whatever the character is thinking or feeling,
the actor has to be in mischief.
- Where you feel emotion?
- When you act, you have to act not just with your will, not just
with your thoughts and feelings, you have to act with
your whole body.
- You cannot act with brain. You go from one idea to next idea
with brain. You can think about play, its feelings,
but you can't act the play with brain. Don't act with mind.
- Your feelings as an actor.
must have feelings large enough to
destroy you. You can not act without an emotion, more important than words,
even the objective.
"In the end, it
can't look like acting."