Joshua Oppenheimer (Joshua Lincoln Oppenheimer) Quotes
Once you recognize that all documentaries are performance, it's not a matter of 'if' they should be performance. They are performance, and they are performance precisely where people are playing themselves.
Quotes to Explore
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It is hard to watch myself. I'm hypercritical, and it's difficult to watch a performance when I may end up being at odds with it - wishing I'd done something differently or that they had edited it a certain way.
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I have never used Auto-Tune in a live television performance, and I have never used Auto-Tune in any of my concerts. That is a promise.
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Shoaib Akhtar has been playing for 5, 6 years and is an experienced bowler.
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But I guess I like playing flawed guys 'cause it gives a place for the characters to go.
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You have to always physicalize, when you do animation recording. Otherwise, you won't get the performance right.
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Those differences are what color the performance, but in the movies you don't get a chance to rehearse.
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It's easier to go from theatre to film than the other way round. In film you're absolutely loved and cossetted and cared for. In film your director makes your performance. In theatre you're carrying it all.
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Ninety per cent of how you learn is watching great people. When you are surrounded by good actors it lifts your performance.
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I have always found myself playing the hero, but I love villains. Villains have more fun.
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I'm never certain of a performance - my own or the other actors' - or the script or anything... But to me it seems there's only one place in the world the camera can be, and the decision usually comes immediately.
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I am not playing for any lobby. I am playing for national lobby. I will ignore lobby. Anybody has useful suggestion, they can give it to me. The history will speak about it.
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My whole career I'm used to playing a lot of games.
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I like the ephemeral thing about theatre, every performance is like a ghost - it's there and then it's gone.
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I started playing the trumpet when I was about eight.
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I would like people to know me for who I am, especially since I think people have a very skewed image of me. I was playing a lot of cute characters, a lot of little girls; I was objectified. And I don't want people to think of me as that because it's not who I am, and because I've seen a lot of hostility towards that image.
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I learned a lot from playing those late-night, 1-to-4 A.M. gigs with my band, and playing when no one was listening.
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Down on the ground, we seem to do anything but make lengthy, robust monologues. We can communicate in an instant almost anywhere. Gone is the slow old letter - itself a monologue, a sort of considered performance of best self - and in its place is the e-mail, the text, the SMS, the tweet.
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Negative feedback effected amplifier performance significantly.
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Such crazy things happen on daytime TV; if you were to take a specific scene out of context, it can sound so far-fetched that you start laughing at the material... and that can take you out of watching the performance.
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We had some guys that were playing their first game. There's a transition period and we just have to get used to the new application. You have to think out there because as soon as you get your stick up or get your arm out you're going to be sitting in the (penalty) box. It's easy to talk about and it's easy to watch it on video but once you're on the ice, you only get a split second to think about it.
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I think one of the most important things when I was learning how to do that was finding songs that I liked that had guitar solos in them and trying to figure out how to play those because even if it wasn’t me playing along to a previously recorded Dropkick Murphys solo I was, at least, learning how to play like that.
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Velveeta: you can eat it - or wax your car with it!
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Once you recognize that all documentaries are performance, it's not a matter of 'if' they should be performance. They are performance, and they are performance precisely where people are playing themselves.
