This is more of an observation than a comment. And, it goes to the craft of acting - specifically how it plays out in the arena of subtext. I read and then watched the "Sideways" scenes you posted. The subtext of the written word is crystal clear - at least to anyone who listens for subtext. I watched and listened to Giamatti and Madsen closely. It is hard to know for sure, but it appears their characters are talking about wine. The actors are no doubt aware of the subtexts, and the director allows plenty of time for the observer to "hear" the subtext - but, the characters are not playing to it. (Maybe Madsen a bit.) - And I've been thinking about that subtly. In broad comedy, the effect is often drawn directly from the subtext - with wink winks and nod nods. But in drama, it seems subtext is derived through a beautiful collaboration of writer, director, actor, dp, etc.

Your observation, Ellen, is apt. I'm reminded of the late actor Leslie Nielsen, whose brilliance in the Airplane! movie spoof series was in large part because he played his role completely straight, no attempt at TRYING to get laughs, just straight (this is what Zucker-Abrahams-Zucker told him to do). Your comment also made me make a connection to Maya's line in Sideways: "I love how wine continues to evolve, how every time I open a bottle it's going to taste different than if I had opened it on any other day." Isn't that the same with a character's role in a movie? Or stage play? Or TV series? Each actor will bring something new to the role, tapping into the subtext more or less, playing it up top more or less. As this scene in Wayne's World so aptly - and humorously - demonstrates.

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