Word: stanislavskian
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...make this movie for fans of movies, not fans of Star Trek, necessarily," he has said. Star Trek - just Star Trek, straight, no chaser - is Abrams' attempt to reverse-engineer the early years of Kirk and Spock and the rest of the original-series crew. It's like a Stanislavskian exercise, retroactively endowing the characters with a set of childhood memories (rather like the replicants in Blade Runner) that explain how they became who they are. (Captain, it appears we are caught in a time loop...
...their great guru, Lee Strasberg, preached. In the first years of his fame, that was O.K. with Brando. It saved him a lot of tedious explanations. And it was more than O.K. with the crowd at the Actors Studio, which he briefly joined. It was the headquarters of Stanislavskian acting in America, inheritor of the Group Theater tradition (where in the 1930s Strasberg first came to controversial prominence). They had long needed a star to lead their revolution--against the well-spoken, emotionally disconnected acting style that had long prevailed on stage and film, indeed against the whole slick, corrupt...
...Final Fantasy: The Spirits Within, opening in July, stars a cast of disconcertingly realistic CGI humans. In Steven Spielberg's A.I., opening this week, a teddy bear comes to life, and Haley Joel Osment communes with eerie, translucent aliens. As a robot, Osment never blinks because of his Stanislavskian discipline--and because the special-effects wizards at Industrial Light & Magic (ILM) removed more than a dozen blinks from his scenes...
...Final Fantasy: The Spirits Within, opening in July, stars a cast of disconcertingly realistic CGI humans. In Steven Spielberg's A.I., opening this week, a teddy bear comes to life, and Haley Joel Osment communes with eerie, translucent aliens. As a robot, Osment never blinks because of his Stanislavskian discipline - and because the special-effects wizards at Industrial Light & Magic (ILM) removed more than a dozen blinks from his scenes...
...these movies were small, intense, black and white, ideally suited to the psychological realism of the Stanislavskian Method, as it came to be known; ideally suited, as well, to Brando's questing spirit. But in the '50s, as he reached the height of his powers, Hollywood sank to the nadir of its strength. Competing with TV, it embraced color, wide screen, spectacle--and was looking for bold, uncomplicated heroes to fill its big, empty spaces. Brando looked (and felt) ludicrous in this context...