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Alison Lohman

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I figured he'd be like a genius, because he is. He’s very, very subtle and nuanced. It’s very much in the eyes. That’s how it is in real life. He’s such a great actor. I was just amazed that I got the chance to work with him.
--
Of Nicholas Cage

 
Alison Lohman

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I am like a poet on the threshold of a work, an accursed, sterile poet who will leave no glory behind, to whom chance lent the truth that genius would have given him, a frail work which will pass away with me, mortal and sealed to others like myself, but a sublime work nevertheless, which will show the essential outlines of life and relate the drama of dramas.

 
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He was an actor of genius. There was no more overwhelming actor on the stage, in the motion pictures, nor even in the pulpit. He would whirl arms, bang tables, glare from mad eyes, vomit Biblical wrath from a gaping mouth; but he would also coo like a nursing mother, beseech like an aching lover, and in between tricks would coldly and almost contemptuously jab his crowds with figures and facts — figures and facts that were inescapable even when, as often happened, they were entirely incorrect.

 
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The fame of an actor is won in minutes and seconds, not in years. The latter are only helpful in the recurrence of opportunities; in the possibilities of repetition. It is not feasible, therefore, adequately to record the progress of his work. Indeed that work in its perfection cannot be recorded; words are, and can be, but faint suggestions of awakened emotion. The student of history can, after all, but accept in matters evanescent the judgment of contemporary experience. Of such, the weight of evidence can at best incline in one direction; and that tendency is not susceptible of further proof. So much, then, for the work of art that is not plastic and permanent. There remains therefore but the artist. Of him the other arts can make record in so far as external appearance goes. Nay, more, the genius of sculptor or painter can suggest — with an understanding as subtle as that of the sun-rays which on sensitive media can depict what cannot be seen by the eye — the existence of these inner forces and qualities whence accomplished works of any kind proceed. It is to such art that we look for the teaching of our eyes. Modern science can record something of the actualities of voice and tone. Writers of force and skill and judgment can convey abstract ideas of controlling forces and purposes; of thwarting passions; of embarrassing weaknesses; of all the bundle of inconsistencies which make up an item of concrete humanity. From all these may be derived some consistent idea of individuality. This individuality is at once the ideal and the objective of portraiture.

 
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