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or get ready to ramble

1963, isn't that long ago that I started to make my casual attempts of training for the craft. It was 1963 and then regular folks considered acting 2b 'something wrong' with you. My mom and dad were both actors. There was nothing wrong with them but they were no regular folks.

As an actor I travel from character to character. Jump from skin to skin. It takes some serious mileage to get to each new job. At the same time these characters - like the circus - travel through me. After I leave them they leave me. Later, as they fall through the screening, rooms into the world, they come alive again. Reincarnated by this grand illusion. This black and hopeful home of borrowed time. their past lives are born again into digital future. Some live longer, some shorter, some hardly at all. Or it seems that way. The nature of film is movement. It moves people. It moves me.

One of the most thrilling things in life is communication. It has its ways. Even as I write this to you, you pixelfetish fans.

'FILMSPEAK' speak a universal language. One picture tells me more than a thousand words. People see in different ways. The 3D of your understanding is directly linked to your POV. the eyes being two subjective lenses. Our minds ever watching and projecting from their own angle.

At the end of the day the director will always b the 'master' of the final 'thing'. In my mind it is my job to give him/her what they want in my own way. It needs substance, contents, context, subtext, strength and a certain continuity of character. In short, some interesting editing material based on the screenplay because that's the REAL materials for THE FILM.

Directors may know what they want, they may just have a feeling about it. They don't know what an actor has in store. It's the secret of his/her talent. All you need is a chance to go there. Which may or may not b possible. For whatever reason. This part of a coincidental timing thing. A mood. A change. Or even this: the other actor is allowed to take the scene in a direction that doesn't suit your wishful purpose. If the poor actor couldn't get it out in one scene it will still b there. Waiting for a release in scenes to come. This is fine. That's how this odd puzzle comes into being. A sensitive director will know when to open up and harvest this moment. I hardly ever have an argument on a set. Frictionand sometimes my own frustrating struggles to squeeze out of me what I think might b interesting or entertaining, even frivolous or just pleasant. That is just part of the beast. Smaller parts, which I haven't shied off, are a different ball of wax because it has 2b what it needs 2b without any armrest time. The struggle or whatever you want to call that off creative process, is what interests me. Almost more than the final result. And finally, each one of us is entitled to our own stupidity. It's a good thing. It shows the extent of given boundaries. And for fun. Even wisdom can b a form of stupidity. I enjoy a good time and go out of my way to have one but it is not a guarantee of GOOD WORK.


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