A Quote by Bill Skarsgard
I think every character that I play has a certain sort of tone or an energy level to them.
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I think as technology and expertise makes possible these sort of amazing levels of fidelity to the real world, a lot of people sort of get sort of - what's the word I'm looking for - seduced into that. And after a time, they get tired of it and they become a little bit more interested, I think at a certain level of subtraction and a new level of sophistication.
I think every character I play has a physicality to them, so I have to stay in some sort of shape. I'll never be a size two. And I don't want to be a size two.
It wasn't like this happy-go-lucky experience, shooting Norman movie. It was something I kind of had to, sort of dedicate a certain level of focus and energy to kind of just stay in this headspace that would allow me to access - because it's also a very emotional movie at times. This was the first time I ever played a real character, a fully fleshed out, dimensionalized, multi-faceted character, as opposed to a part. There's not very much opportunity for somebody of my age and my look, so for a character-driven piece like this to come along is a rare thing.
I think it crucial to recognize that you can't straightforwardly "adapt" Douglas Adams. Douglas's genius was uniquely his own. What I've tried to do here, and in every other version, is to be true to the character and the Adams' tone and approach to narrative, his unique brand of word-play and "idea-play" humor.
I think if you play characters, it's very important not to ever tag them with any sort of disorder, or diagnose them, or whatever. You have to normalize the behavior to get inside the character.
Sometimes, in certain stories, I think we know at the outset essentially what the tone is going to be, or it becomes important that we're groping toward some kind of story with a certain kind of tone that we both get somehow. But I don't think how that's combined with other elements is ever in any way overtly discussed.
My tendency as an actor is, when there's a certain energy, I feel a challenge to match it, to come up to that plate and play on the same level.
The thing is that what you try to do when you play is you try to play not below a certain level. In other words, it can be a special day where it would be phenomenal, but if it's not below a certain level, that's the goal. You know, that's what you want to do. That's why you practice and so on.
I think anyone loves to play a character that is either evil to a certain extent or has a real definable character flaw. Those are always really fun, and, I think, funny.
I honestly do think that every character - you pick up the things, little things that you like about them in your life. Especially if you play a character for a long time.
For every role, I brought certain elements of the character. Even on White Collar over six years, I tried to keep the set fun and breezy and Howard Hawks-y and very of the tone of the show.
For every role, I brought certain elements of the character. Even on 'White Collar' over six years, I tried to keep the set fun and breezy and Howard Hawks-y and very of the tone of the show.
I am an actor and I do not have to relate to whatever I play on screen them at a personal level. What is important is to understand the character, do enough homework to know the frame of mind of the character or his back story.
Fiction that intends to be something other than entertainment has a certain obligation, I think, to convince the reader, every time, that what is to be evoked - character, experience, idea - is worthy of his or her consideration, intellectual energy, close attention.
I think there are certain actors that have that kind of energy about them, that taking over a room energy.
I think certain people would be moved to be nostalgic about America's glory days, when the music set the tone for the cultural conversation and popular musicians had this absurd level of authority.
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