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Sheila has set up a mini tribute to Bud White. If you're unfamiliar with who he is, read Sheila's lovely and incisive tribute to him.
"Bud White is not a happy guy. He's not happy just being the muscle. Watch how excited he gets when he's lying in bed with Kim Basinger, talking about what he really wants to do is work homicide. His whole body language changes. He props himself up on one elbow on the pillow, and suddenly he's as enthusiastic and open as a little boy. But none of his colleagues will ever see that side of him. No male will ever see that side of him. Women are the only ones who will ever be allowed to see his vulnerability. This is a throw-back to old movie stars. Humphrey Bogart, for example. His characters are loners. He may have sidekicks, or worthy foes (like in Casablanca) - but you never really see the guy as having a close male friend."
I love people that notice the little things about actors. This is a smart woman. Crowe's performance in this movie is truly a work of art, I would agree wholeheartedly.
I remember watching "Straight Jacket" with Sheila. There's a moment in this film where Joan Crawford (pretending to be drunk) picks up a ciggarette, walks seductively over to the phonograph with the record blaring loudly, and strikes a match on the album causing it to skip and create a sound much like a sick dolphin getting caught in a net. It's actually hilarious. Sheila got it immediately. It's a small moment, and quite frankly, one of the funniest I've ever seen. Unintentionally funny, ofcourse. Sheila and Mitchell and I played back that scene 10 or 15 times. Sheila's eye for the meticulous is astounding.
Consider this:
"Russell Crowe, as Bud White, seems to actually inhabit that time. It's a period piece. But it's not kitschy. Or - it shouldn't be. Bud White is a product of his time. And Russell Crowe - in those little moments - how he lifts up the cord for the beaten lady - isn't ACTING LIKE he is back 50 years in time. He actually seems to just live there. "
Beautiful observation. And I agree completely. It's a very different thing to become part of your world, than it is to "act like" your part of it. One rings true, the other is technique. One is transparent. And that's the difference between what makes a good performance, and what makes a great one.
Go read the rest of her post, it's wonderful.
"Bud White is not a happy guy. He's not happy just being the muscle. Watch how excited he gets when he's lying in bed with Kim Basinger, talking about what he really wants to do is work homicide. His whole body language changes. He props himself up on one elbow on the pillow, and suddenly he's as enthusiastic and open as a little boy. But none of his colleagues will ever see that side of him. No male will ever see that side of him. Women are the only ones who will ever be allowed to see his vulnerability. This is a throw-back to old movie stars. Humphrey Bogart, for example. His characters are loners. He may have sidekicks, or worthy foes (like in Casablanca) - but you never really see the guy as having a close male friend."
I love people that notice the little things about actors. This is a smart woman. Crowe's performance in this movie is truly a work of art, I would agree wholeheartedly.
I remember watching "Straight Jacket" with Sheila. There's a moment in this film where Joan Crawford (pretending to be drunk) picks up a ciggarette, walks seductively over to the phonograph with the record blaring loudly, and strikes a match on the album causing it to skip and create a sound much like a sick dolphin getting caught in a net. It's actually hilarious. Sheila got it immediately. It's a small moment, and quite frankly, one of the funniest I've ever seen. Unintentionally funny, ofcourse. Sheila and Mitchell and I played back that scene 10 or 15 times. Sheila's eye for the meticulous is astounding.
Consider this:
"Russell Crowe, as Bud White, seems to actually inhabit that time. It's a period piece. But it's not kitschy. Or - it shouldn't be. Bud White is a product of his time. And Russell Crowe - in those little moments - how he lifts up the cord for the beaten lady - isn't ACTING LIKE he is back 50 years in time. He actually seems to just live there. "
Beautiful observation. And I agree completely. It's a very different thing to become part of your world, than it is to "act like" your part of it. One rings true, the other is technique. One is transparent. And that's the difference between what makes a good performance, and what makes a great one.
Go read the rest of her post, it's wonderful.
