I don’t have a technique. I’ve never been a believer in having one set technique on how to act. There are no rules and there is no rulebook. At the end of the day, it all comes down to my instincts. That’s the one thing that guides me through every decision professionally. Socially, also. That’s my technique. Yeah, you read through the script 100 times. I guess I have little characteristics about myself. Sometimes, most often than not, once we start shooting I won’t look at the script at all until we finished shooting. It’s kind of like it’s been imprinted in my head during rehearsals. You just let it go.
Happy Birthday Heath Ledger | April 4th, 1979
RENOWNED FILM DIRECTOR WES ANDERSON SHOOTS IN ZUBROWKA
Three-time Academy Award nominee Wes Anderson brings his directing expertise to the mountains of Nebelsbad for his latest film. Wes will use several techniques to convey the three separate time periods that the movie spans, utilizing his unique artistic approach to capture the heart of old Zubrowka.
His metier was human loneliness — the terrible uncinematic kind that has very little to do with high-noon heroism and everything to do with everyday empathy — and the necessary curse of human self-knowledge. He held up a mirror to those who could barely stand to look at themselves and invited us not only to take a peek but to see someone we recognized. He played frauds who knew they were frauds, schemers who knew they were schemers, closeted men who could only groan with frustrated love, heavy breathers dignified by impeccable manners, and angels who could withstand the worst that life could hand out because they seemed to know the worst was just the beginning. (x)
Famous deaths invite hyperbole. The news that Philip Seymour Hoffman was discovered dead today in an apartment bathroom, with a syringe sticking out of his arm, seems like an occasion to overreact with some exaggerated summary of his career—something like “most talented and kaleidoscopic actor of his time.”
Except, in this case, the compliment isn’t hyperbolic at all. It’s just an accurate description, as true yesterday as it is today. And the competition isn’t even that close.
The first thing about Philip Seymour Hoffman—that is, the first thing most audiences saw—is that he looked unremarkable, even boring. He had a hangdog countenance, often sliced with the swoop of his receding blond mane, with small, firm eyes. He wasn’t strikingly handsome, nor strikingly unhandsome, neither thin nor obese, not blessed with any distinguishing gosh-wow feature that would make somebody watching an early performance in Twister or The Big Lebowski exclaim, “I think we’ve found our next Brando.” Instead of standing out in these early films, he stood within them—gauging the pace and tone of the action around him and blending in so delicately that it’s not uncommon for even Hoffman fanatics to look back on his career and think, I forgot he was in that.
Read more. [Image: Sony Pictures Classics]
INFINITE LIST OF MY FAVORITES FILMMAKERS △ Stanley Kubrick"I can’t honestly say what led me to make any of my films. The best I can do is to say I just fell in love with the stories. Going beyond that is a bit like trying to explain why you fell in love with your wife: she’s intelligent, has brown eyes, a good figure. Have you really said anything? Since I am currently going through the process of trying to decide what film to make next, I realize just how uncontrollable is the business of finding a story, and how much it depends on chance and spontaneous reaction. You can say a lot of "architectural" things about what a film story should have: a strong plot, interesting characters, possibilities for cinematic development, good opportunities for the actors to display emotion, and the presentation of its thematic ideas truthfully and intelligently. But of course, that still doesn’t really explain why you chose something, nor does it lead you to a story. You can only say that you probably wouldn’t choose a story that doesn’t have most of those qualities."
We ran everything. We paid off cops. We paid off lawyers. We paid off judges. Everybody had their hands out. Everything was for the taking. And now it’s all over. - Goodfellas (1990)
The words are really far apart, and the spaces between the words are almost infinite.