I remember so vividly playing a scene with Jimmy Stewart. I was in the back of a covered wagon, and we were doing this little talk in the wilderness. They did his close-up first. I was looking at him and thinking, 'How does he do that?' He is not 'doing' anything, and yet everything is there.
The trick to forgetting the big picture is to look at everything close-up.
When I was in the war, I was lucky that I was in a plane and never saw the carnage close-up.
I don't mind close-ups, I like them, but they're kind of forceful - you see a lot, you get a lot of information in a close-up. There's less mystery.
Life is a tragedy when seen in close-up, but a comedy in long-shot.
Everybody thinks performance capture is about thrashing around and doing a lots of movement, but it's actually about being able to contain and think and be believed in a close-up, as much as anything else.
With 'Eagle of the Ninth,' every shot was extremely planned and organized. The director was like, 'Do this!' And I say, 'How was it?' and he says, 'Good.' It was very odd. I would never know where he was headed, or even if he was shooting me at a close-up or from a distance.
A close-up on screen can say all a song can.
As a close-up magician, I was using gambling cheating techniques.
My close-up was magnificent!