"I checked myself out in that funeral parlour scene. I saw myself laughing, because there was a shot of Ed and I together and Mary was right in back of us. My head turned from the camera and I saw myself laughing, because Mary was absolutely brilliant in that thing"
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What’s striking here is the actor’s reflex to locate himself in the frame like any other viewer, then immediately surrender that self-consciousness to someone else’s talent. MacLeod starts with a piece of behind-the-scenes autopsy: “I checked myself out,” a blunt admission of vanity that most performers would polish away. He doesn’t. He lets the line stand, then pivots to a kind of affectionate self-erasure, where the real discovery isn’t his own timing but Mary’s presence “right in back of us.”
The funeral parlour detail matters because it’s inherently unstable terrain: comedy is most revealing when it brushes up against decorum, grief, and social rules you’re not supposed to bend. His laughter isn’t just a blooper or an indulgence; it’s proof that the scene’s chemistry is doing something live, even inside a controlled, edited product. When he says his head turned from the camera and he “saw” himself laughing, he’s describing an odd double consciousness actors rarely articulate: performing in the moment, then later witnessing that moment as evidence.
The repetition of “I saw myself” underscores the split between persona and person, while “absolutely brilliant” lands like a plainspoken ovation. Subtext: the craft he values isn’t the star’s spotlight but the ensemble’s gravitational pull. It’s also a quiet defense of sitcom work as real acting work: the funniest moments often come not from punchlines, but from one performer’s brilliance cracking another’s composure.
The funeral parlour detail matters because it’s inherently unstable terrain: comedy is most revealing when it brushes up against decorum, grief, and social rules you’re not supposed to bend. His laughter isn’t just a blooper or an indulgence; it’s proof that the scene’s chemistry is doing something live, even inside a controlled, edited product. When he says his head turned from the camera and he “saw” himself laughing, he’s describing an odd double consciousness actors rarely articulate: performing in the moment, then later witnessing that moment as evidence.
The repetition of “I saw myself” underscores the split between persona and person, while “absolutely brilliant” lands like a plainspoken ovation. Subtext: the craft he values isn’t the star’s spotlight but the ensemble’s gravitational pull. It’s also a quiet defense of sitcom work as real acting work: the funniest moments often come not from punchlines, but from one performer’s brilliance cracking another’s composure.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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