Aired (January 4, 2024): Ayon sa dalawang batikan sa larangan ng pelikula, pag-arte, at showbiz na sina Laurice Guillen at Gina Alajar, agad bang masasabi na mahusay ang isang aktor kapag sila ay marunong umiyak? Alamin!
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00:00 [Music]
00:04 My question is, how important is it to cry well when you're an artist?
00:13 Well, when you cry easily, it's an indication that your emotions are available.
00:20 But that's not the only thing that the director is looking for in an artist who cries.
00:26 There are also many complicated emotions. But crying is an indication that this heart is open.
00:34 I'm learning. How about you, Gina?
00:37 It's the same. You have the affectability when you cry easily.
00:46 You have the available stimulus that you can feel.
00:53 Just like what Director Luris said, it's not just about crying that is the basis of being a good artist.
01:00 There are many other emotions.
01:02 There are great artists, not just here in the Philippines, who cry without crying.
01:07 But they are very effective. I can relate.
01:11 Is that possible? I mean, to cry without actually crying and make me believe that you're crying?
01:19 Yes, because he has an inner life.
01:25 Even if there's no line, there's something happening inside him that runs.
01:34 At that moment, maybe he's experiencing again an emotion that made him so vulnerable.
01:43 And you can see it in the eyes, in the body of the artist.
01:48 So you know that she's undergoing something painful.
01:51 And she's crying inside.
01:54 That's amazing, Luris.
01:56 As reading the book of the great comedian George Burns,
02:00 one of the chapters discussed on how many times in his life he had faked a lot of scenes, a lot of lines.
02:09 But while he was faking, he was achieving the results.
02:15 That's what makes people laugh.
02:18 Can you actually fake an emotion and make an audience believe?
02:23 Well, I don't know.
02:27 First of all, if it works for you, use it.
02:30 But if there's a camera, if there's a close-up, you can see it.
02:35 It's different from a live audience or a show like this.
02:39 It's different.
02:42 The camera can see into your eyes, can see your life, inner life, what's going on inside of you.
02:51 I don't know if it's possible to have an emotion that you don't feel.
03:00 All these years, it's always the authentic, the real.
03:05 That's what I learned, that's what I was given.
03:10 That's what I remember, that you need to feel what you're doing, your emotion, so you can translate it.
03:19 When we talk about awards, just after the Metro Manila Film Festival,
03:24 there are discussions, not just here in our country, but globally, universally.
03:30 People would say, "How can they actually judge who is the best among?"
03:34 "How can you say that she is better, he is better than the others?"
03:39 Because acting is a personal journey.
03:42 It's so internal, it's so private, it's so personal.
03:46 And how can one, I don't know who said this, but one great actor,
03:50 I don't understand how I can be better than the other.
03:53 Your take on awards?
03:58 Well, for me, my base is if a movie or if a performance touches me,
04:04 if I am really touched inside, it touches something inside of me that I feel for you.
04:11 Because I don't easily cry.
04:14 I cry on screen, I don't cry, but sometimes, it hits you like here,
04:21 without trying, just being authentic on screen, that I get touched.
04:27 And to me, you touched me and it's a real thing.
04:30 And to me, I admire your performance.
04:33 Thank you.
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04:49 [Music]