Theater's wonderful because it's visceral, and it's happening in front of you, but you never get that close. So the close-up is a great privilege of film.
Everybody thinks performance capture is about thrashing around and doing a lots of movement, but it's actually about being able to contain and think and be believed in a close-up, as much as anything else.
Actors' performances in films are enhanced in a million different ways, down to the choice of camera shot by the director - whether it's in slow motion or whether it's quick cut - or... the choice of music behind the close-up or the costume that you're wearing or the makeup.
On camera, the audience can see your eyes close up - they can see behind your eyes - and when you're on stage, you need to make sure that the person sitting in the back row can feel what's happening behind your eyes, even if they can't see them. Having a live audience is exhilarating and exciting all on its own, but you know, it is quite different.
I'm not an actor that tends to care. I don't ask 'Is this a close up? Is this a master? Is this a wide? What are you doing? If I look up and notice the camera I go 'Oh, it's a big one today, must be an IMAX.' And that's kinda it for me because it doesn't affect what I'm doing.
Because TV is mostly close up, it has to be fast. And because it has to be fast, you don't have time to explain completely, by a sequence shot, what's happening between people. So instead of experiencing what's happening, say, when a couple is dancing, dialogue is used to explain.
'Play It Again Sam's opening shot is the same as 'Purple Rose's final one: a close-up of a face, rapt in a movie house. I've certainly felt that in my life. I've been known to cry watching Gene Kelly.
You have to learn to express differently. Whenever I do TV or film, I ask if I can see the shot to see, to see if it's full body or a close-up. That helps me understand how to communicate.