The collaboration really begins once the rehearsal starts. This is when the actor takes his place, because he becomes the one who is going to bring the words of the author off the page.
Onstage, of course, you have the luxury of rehearsal and discovery and time and comfort, which then turns into terror when you actually have to put it in front of people.
I wasn't into anything at school. I used to get really embarrassed. I used to get asked to do performing things, and I'd go to all the rehearsals, and then I'd pretend to be ill on the day I had to actually perform. I was very unhappy at school.
I design my shots. I walk the rehearsal as the camera and say 'this is where I want to be... I want this look.
Once rehearsals are done the writer really doesn't have a function on the set. If the script is stabilized, then the writer becomes a celebrity tourist visiting the set, trying not to get in the way. It's very good for the ego, to go visit a film set if you are the writer, because they give you a special chair, and tell you where you can sit to watch the monitor. They make you feel special, but at the same time, they make it perfectly plain that you are irrelevant!
As a kid who wasn't into sports, at school I felt almost alienated at times, whereas in the theatre community there was this amazing sense of camaraderie. Early on, we would go to rehearsals with my dad and I was like the mascot for the backstage crew. That was a big part of my childhood, so I dreamed of one day doing a play in London.
The larger loneliness of our lives evolves from our unwillingness to spend ourselves, stir ourselves. We are always damping down our inner weather, permitting ourselves the comforts of postponement, of rehearsals
I don't rehearse films as much as opera or theatre. When I began directing films I thought a long rehearsal was a good idea. Experience showed me that the best performance was often left in a rehearsal room.
A lot of people don't really understand what rehearsal's about. People are afraid they're gonna leave it in the dressing room, or you're gonna shoot your wad in rehearsal.
Theatre is so much fun because you do theatre and you have a month of working it out on your own, and then a month of rehearsal, so by the time you get to stage I know where I'm failing and I know where I'm succeeding and your boundaries are pretty concrete.
But you really - I always think that a director has got to adapt to whatever the needs of the actor are. You know, so if you take someone like Eddie Murphy, who is not a big fan of rehearsal. You know he comes out of stand-up. He comes - it's all about capturing the moment - in the moment, you know.
You live with a writer [a mother], and you grow up with their words, their kind of fantasies, and I'd pretty much seen every single one of her plays, and been in a lot of rehearsal rooms, so it felt very natural and easy. It was lovely to get an opportunity to do that professionally as well.
The rehearsal time is almost my favourite part of being an actress, particularly if you're working on a play that hasn't been done before.
I prefer film to the stage. I always like the rehearsal better than I like performing.
If you're sounding right, you're probably walking right, and vice versa. If you get the footwork right - if you get even one line right in a rehearsal, the director will say, do you know when you said that, it was exactly the character. You were - really landed on it.
If I produce it, I will stage it as a performance. A small audience will be invited; rehearsals of the sections will be done in the mornings, and those sections will be recorded in the afternoons.
. . . the labor with which we give birth is simply a rehearsal for something we mothers must do over and over: turn ourselves inside out, and then let go.
It is quite amazing how hard the subconscious works when it is made to understand that this life is not a rehearsal, there is no safety net and no assurance of any final closure. It is also quite appalling to realize how catatonic the imagination can become when we hedge our bets, opt for the safer direction at every fork in the path.
I try to shoot the first rehearsal because people are more spontaneous. People in real life don't really know where they are going to be either positioning themselves or how they will be saying their words. When people goof during the first take, it usually looks realistic.
A good film to me is like lightning in a bottle. I used to think that meant hit and run. But then I've changed my definition about what lightning in a bottle means. I think it means that you wait for that surprising moment that you really didn't expect would happen, as good as it may have gone in rehearsal.
I generally enjoy the rehearsal process because that's where you can share your ideas, get your thoughts and feelings out and see whether or not they're going to land, whether or not people are going to agree with them, particularly the director. So you can sort out in that process any elements that need to be sorted out before you're on the set, and of course that saves time and it also makes everyone more comfortable working together.
On movies, I like to involve the cast in the writing of the script. I like to have a rehearsal period, after which I do the last draft, which gives me a chance to incorporate anything the actors have come up with during the rehearsal period, so I'm very inclusive as a writer.
For me to rehearse with a children's orchestra a Mahler symphony was to really work. We had three or four weeks of rehearsal with the orchestra, every day eight or nine hours, putting the First together. I had been conducting Tchaikovsky a lot and Beethoven, but Mahler was different.
Nobody could disappear to their trailer once it was up and running, you were all there on the same stage. It was 10 days of rehearsal and 10 days of shooting, which was very tiring.
I've discovered that numerous peak performers use the skill of mental rehearsal of visualization. They mentally run through important events before they happen.
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