Attempting to find internal motivation that arises from some inner depth that will conceive the character is a thing relegated to the stage. Cinema is a surface phenomenon. The flat images are projected to a screen. On stage, in the movies, Shakespearean, or method acting, is attempting to bring life to words. Words have to be recited. The direction is from the “interior” to “exterior.” Images capture the external. It is through the surface of things that an internal exploration needs to be made. The approach to cinema is in opposition to a theatrical approach. The actor that remains still can, in the hands of the filmmaker that sees her film, evoke a real character. It isn’t emotions that need to be evoked. It is life. The actor as an object comes to life in relation with the material objects of the film world.
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