Motion picture acting (1947)

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MOTION PICTURE ACTING She knows she must not leave her appeal on that weakly, "feminine" note. She pulls herself together, and cries, "Those are the things—and he's got U9 go back and fight for them —knowing that we'll never give in! That's England, too— knowing that we won't be beaten ... we wont!" Her voice choked with sudden tears, she falters, "We just . . . won't." Ashamed of her emotion, she lowers her head and murmurs, "I'm sorry, Clive . . . I'll be all right in a minute." There is the girl—warm, idealistic and intense- ly, passionately patriotic. But, you may say, "How can I feel what she feels? I, who am an American, and don't give a hoot about England?" Well, who says I do, either? But when I say those words, I care—I care like anything! And so must you! To you, Monty and the boys coming up the road from Kent must be as heart-swelling a thought as the survivors of the Death March on Bataan coming back into Manila from the con- centration camps. That's what acting is! You may say, "How can I think all those other things you put in parentheses when I'm speaking the lines in the script?" The answer is—you don't! Remember, I told you that, before. You think them when you are studying the role, 116