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To be an actor you have to be strong inside. In this job, the important thing is that you live many lives. I arrived at centosessantacinque film and continue to make. This is the beauty, to be transformed and live other lives. You need to be strong because the madness is lurking. I did not want to work in the cinema, it was my sister that interested, but then I found myself thrown into. My tone of voice is due to the fact that the little girl did not use the vocal cords, and I fought with the males. When the actor identifies with the character, can go crazy.
Some actors pretend the madness. I never, never have been a hostage of a character. If you are fragile, it is best that the craft not do it: in front of the camera you have to be the other, then just after the shooting you have to return yourself. Marcello knew how to make to perfection. I when I start I always feel a terrible fear. In preparing for a role you must keep in mind the director and the other actors. Without communication nothing happens. On the other hand, to combat the anguish, we must learn the role to perfection, is a decisive factor. Marcello he never gave any impression to prepare, but in reality he did it, but without being obsessed. Let us not forget that had a great theatre experience. Before going to the cinema, had worked in theatre with the likes of Visconti, he had walked to along the stage.
Marcello Mastroianni, the actor's craft: the fifty-year career, narrated by Jean A. Gili
In Enrico IV Bellocchio had to learn a famous text of Pirandello, and I believe that it was prepared with assistants, repeating it to train memory, but without losing the naturalness. At a certain point he had a long monologue, and feared that he would not be able to store it, but everything went well. The leopard and 8½ them I shot at the same time. With Luchino was like to do theatre; with Frederick, there was the screenplay. As Marcello, Federico was always on the phone, and he claimed to not be able to create if there was a lot of noise on the set.
Some actors pretend the madness. I never, never have been a hostage of a character. If you are fragile, it is best that the craft not do it: in front of the camera you have to be the other, then just after the shooting you have to return yourself. Marcello knew how to make to perfection. I when I start I always feel a terrible fear. In preparing for a role you must keep in mind the director and the other actors. Without communication nothing happens. On the other hand, to combat the anguish, we must learn the role to perfection, is a decisive factor. Marcello he never gave any impression to prepare, but in reality he did it, but without being obsessed. Let us not forget that had a great theatre experience. Before going to the cinema, had worked in theatre with the likes of Visconti, he had walked to along the stage.
Marcello Mastroianni, the actor's craft: the fifty-year career, narrated by Jean A. Gili
In Enrico IV Bellocchio had to learn a famous text of Pirandello, and I believe that it was prepared with assistants, repeating it to train memory, but without losing the naturalness. At a certain point he had a long monologue, and feared that he would not be able to store it, but everything went well. The leopard and 8½ them I shot at the same time. With Luchino was like to do theatre; with Frederick, there was the screenplay. As Marcello, Federico was always on the phone, and he claimed to not be able to create if there was a lot of noise on the set.
