How do you ap­proach act­ing? Are you a di­rec­tor’s ac­tor or a method ac­tor?

Friday - - Society -

The more ter­mi­nol­ogy you give to act­ing the more bor­ing it gets. You’ve got to think of your­self as an ac­tor who tries to de­liver the best, who tries to emote, and hope that the emo­tion you de­liver is uni­ver­sally ac­cept­able.

I be­lieve that act­ing is all about ob­ser­va­tion – of ab­sorb­ing what you ob­serve and dol­ing it out when you are called to do so.

I’d say as an ac­tor, there are dif­fer­ent strokes for dif­fer­ent folks. You just go and do your stuff be­fore the cam­era and hope it con­nects with the au­di­ence. Act­ing is about be­ing able to at­tach your­self to the hearts of the peo­ple who’ve come to watch your per­for­mance. That’s what good act­ing is all about. Noth­ing more, noth­ing less.

Nor­mally I don’t talk about the art of act­ing be­cause a lot of peo­ple who come to watch movies don’t want to know how they’re made.

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