"Well, I think one of the main things that you have to think about when acting in the movies is to try not to make the acting show"
About this Quote
Stewart is giving away the trick while pretending it isnt a trick: the best screen acting is the kind that doesnt look like acting at all. Coming from a star whose whole persona ran on plainspoken decency, the line doubles as both craft advice and brand statement. He isnt arguing for emotional emptiness; hes arguing for invisibility of effort, a performance that reads as life rather than technique.
The phrasing matters. "One of the main things" is modest to the point of camouflage, the same rhetorical shrug Stewart used on camera. Its disarming, almost homespun, which is itself a performance strategy: lower the temperature, lower the stakes, invite the audience to lean in. "Try not to make the acting show" is a wonderfully unglamorous construction, closer to a carpenter talking about avoiding visible seams than an artiste talking about truth. That choice reflects classic Hollywoods suspicion of theatricality on film. The camera catches everything; what plays to the back row becomes a lie at twenty-four frames per second.
The subtext is a quiet rebuke to ego. Dont demonstrate. Dont announce your feelings. Dont audition inside the scene. Stewarts best work (in Capras idealism, Hitchcocks anxiety machines, Manns westerns) is built on the tension between restraint and pressure: you sense the performance working, but you never see it sweat. In an industry that rewards display, he stakes a claim for something riskier: letting the character get the credit, not the actor.
The phrasing matters. "One of the main things" is modest to the point of camouflage, the same rhetorical shrug Stewart used on camera. Its disarming, almost homespun, which is itself a performance strategy: lower the temperature, lower the stakes, invite the audience to lean in. "Try not to make the acting show" is a wonderfully unglamorous construction, closer to a carpenter talking about avoiding visible seams than an artiste talking about truth. That choice reflects classic Hollywoods suspicion of theatricality on film. The camera catches everything; what plays to the back row becomes a lie at twenty-four frames per second.
The subtext is a quiet rebuke to ego. Dont demonstrate. Dont announce your feelings. Dont audition inside the scene. Stewarts best work (in Capras idealism, Hitchcocks anxiety machines, Manns westerns) is built on the tension between restraint and pressure: you sense the performance working, but you never see it sweat. In an industry that rewards display, he stakes a claim for something riskier: letting the character get the credit, not the actor.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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