The little AU: Rising Spring: The parts left in
The little AU: Rising Spring: The parts left in
slashfairy
~~
If it's true that the camera, each time it captures one's image, steals part of one's soul, then by rights either actors and those in the public eye have no soul left, or the worry is a false one, because whatever the camera gets isn't the part that counts.
In the hundreds of thousands of frames and shots and bits airbrushed and photoshopped for films and shoots and paparazzi manips he is convinced there is almost nothing of their souls- it's what he told Dom when they were looking over one of the winnowings of Dom's photos that led to "Happy Accidents."
It's what's left in when you walk away that matters. What you come away with that's increased your understanding of your craft, your work, your self. Not what the camera sees, or what people see in its reflection. What you bring with you to burn at the altar of your dedication- that's what matters.
By that measure, each of them has more than he started with, as long as he's not pissed himself away in the winds of vanity and fandom and tabloid press. By that measure, it's the small internal moment lived as deeply as possible while the camera in its unattached way scans across one's life that contains the kernel of something that goes to making soul- it's the part that's left when the editors and critics and viewers have done their parts, long after the acting's done.
If you value your life by the parts you put out, you're as vulnerable as a whore on the corner, Dom'd said, and Viggo agreed. It's not what the world takes from you when you catch its eye. It's the parts left in, the ones that fall away in the last moment before you don't hang on anymore- those are the ones that matter.
previously: Leave out the white nights...
next: Homeless
slashfairy
~~
If it's true that the camera, each time it captures one's image, steals part of one's soul, then by rights either actors and those in the public eye have no soul left, or the worry is a false one, because whatever the camera gets isn't the part that counts.
In the hundreds of thousands of frames and shots and bits airbrushed and photoshopped for films and shoots and paparazzi manips he is convinced there is almost nothing of their souls- it's what he told Dom when they were looking over one of the winnowings of Dom's photos that led to "Happy Accidents."
It's what's left in when you walk away that matters. What you come away with that's increased your understanding of your craft, your work, your self. Not what the camera sees, or what people see in its reflection. What you bring with you to burn at the altar of your dedication- that's what matters.
By that measure, each of them has more than he started with, as long as he's not pissed himself away in the winds of vanity and fandom and tabloid press. By that measure, it's the small internal moment lived as deeply as possible while the camera in its unattached way scans across one's life that contains the kernel of something that goes to making soul- it's the part that's left when the editors and critics and viewers have done their parts, long after the acting's done.
If you value your life by the parts you put out, you're as vulnerable as a whore on the corner, Dom'd said, and Viggo agreed. It's not what the world takes from you when you catch its eye. It's the parts left in, the ones that fall away in the last moment before you don't hang on anymore- those are the ones that matter.
previously: Leave out the white nights...
next: Homeless