Quotes of All Topics . Occasions . Authors
My character on 'CNWK' gave me work satisfaction.
I work according to the kind of character they want me to play.
If you don't see me act, my work is done. The actor must never take the character beyond the scope of the movie.
It's such a private thing - 'my process' - I can just say that the work that I do is like therapy between me and the character.
I work with my acting coach to help me get into character and do pronunciation drills and tongue twisters to help me deliver lines.
The thing that really makes me happy is the real work and rehearsing and creating the character and the process of making the movie. Hollywood's not real.
Finding the voice of a character, no matter who it is - from Black Widow to Han Solo - is the first and most important hurdle for me to cross in any work of fiction.
My work is distinct and definitive and specific, and hopefully it is so that every single character is different, and they are - but there's probably an underlying element that's me.
I would experiment with porridge - make porridge pancakes, fry porridge - and so friends started calling me 'Porridge.' But I got to feel that I was becoming a character, a work of fiction, in a sense.
I tried to copy some of his mannerisms at first but it didn't work. And then I just let the spirit of the character grow in me and it just took its rightful place. I started to speak the lines and it felt right.
Well, thank you and that's for them, but for me, I want to look back at a body of work where when you do the research and you explore the psyche of a character, where she's been, where she is and where she's going.
As long as I don't go onstage completely normal and then jump into character onstage, I assume that most fans would be able to accept me as the creator. I can comment on the work the same way a director would on his movie.
Not that I'm in the stage of my career where they're offering me parts in 'The Revenant,' but I try very hard to go through the audition process because I feel like I learn quite a lot about the character and the people I'm going to work with.
My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.
I've always been battling this perception people have of me, this character. It follows me around. 'Bubba the Bear' shows up when I'm checking into a hotel, when I'm on a plane. I can't get upset with people if they're only aware of a small part of my body of work. But inside I do.
I constantly have anxiety about being the lead of the show. I don't talk about it because it scares me. But I've always wanted to be part of something where I could work on a character in such a big manner, and you get offered that with all the trappings of being the lead of the show.
I constantly have anxiety about being the lead of the show. I don't talk about it because it scares me, but I've always wanted to be a part of something where I could work on a character in such a big manner, and you get offered that with all the trappings of being the lead of the show.
I think my sensibilities about storytelling and character just automatically come into play when I'm trying to work on any kind of narrative. For me, it doesn't really matter what the source of the narrative is. I will be looking for ways to make it into an intriguing story with empathetic characters.
Stage is so important because it teaches me how to convey character with words - how to convey how a character reacts by the way they appear on stage. I can usually tell a playwright from someone who has never written for the stage. Did the character work? Did the dialogue reveal who the character is?
I initially thought 'Lewis' was a terrible idea. The character had very much been Morse's work donkey and sounding board. But I was persuaded to do it, thinking if it was a flop, at least ITV would stop asking me. But the pilot took off, so we got back on this moving train, and we've never looked back.
My brother Ryan was on the Disney XD show 'Pair of Kings' where he played Lanny, the evil cousin to twin kings, for three seasons. His motivation to be a better actor always pushes me to work harder and try to be more like him. When he gets a role, he will study that character until he becomes that person.
The problem is there are so many stories out there where I can pull that superhero out, put any other superhero in, and the story works the same. For me, that's broken. I have to write a story that no one else but Aquaman or Shazam can be in, and as soon as you pull that character out and out someone else in, it doesn't work.