A Quote by Melanie Lynskey
Even when I'm reading a script where I'm supposed to be looking at the lead role, I'll find myself gravitating toward some small weirdo in a few scenes instead. I'm very instinctive like that and I love the challenge of not having a lot of time to create someone who feels real.
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I just started studying opera - very, very much as hobby - and for some reason I've been gravitating toward French composers, like a lot of Debussy and Faure. I find it a really sinuous and spooky language to sing in.
All this hoping for something- or someone- that's maybe hopeless. I'm having a hard time processing what I am supposed to believe, or if I'm even supposed to. There is too much information, and I don't like a lot of it.
I don't really have a specific formula I follow to find the right script or role. It's always just very instinctive.
In television you don't have a lot of time to spend with the role or the script. Typically you get a script a week prior to shooting. Sometimes it's even less time, not enough time to dream about the role.
While reading writers of great formulatory power — Henry James, Santayana, Proust — I find I can scarcely get through a page without having to stop to record some lapidary sentence. Reading Henry James, for example, I have muttered to myself, "C’mon, Henry, turn down the brilliance a notch, so I can get some reading done." I may be one of a very small number of people who have developed writer’s cramp while reading.
I love the challenge of having one character who is traveling back in time to find someone. Nowadays, the only way we think to find someone is on Facebook.
Having that college-town atmosphere with a live repertory company available was a real gift. I found myself gravitating toward the theater from about the age of nine. I guess it was the environment that got me started.
I do like ensemble work. I would like to do a lead role, though. I didn't shy away from that.
I'm desperately looking for a lead role to do in a film, an independent film, and it just hasn't come my way yet. I'm desperately looking for that role that will put me in a lead category. Or a television series.
Every time I do a movie, I'm reading the script, or if it's something I have coming up, I'm reading the script, and I just spend hours and hours and days and weeks and months going over the script and just writing a lot of different ideas down, finding a little dialogue or just coming up with ideas for scenes and moments and all that kind of stuff.
I try to find some sort of meditative hobby to do on set, and it's different for every film. There's a lot of downtime, but I don't like reading on set because it feels like you're taking yourself out of your world, instead of being present. And then, you feel like you're not ready to do whatever you have to do.
It always starts with a script. I like to have plenty of time to read something, and I always like to read a paper copy. I hate reading it on email. I sit down with a script, and want to see how it hits me. It's an instinctive process.
You never know what you're in for when you take a role. When you're reading the script, you're in some café in New York and you're loving life and it sounds great because it's like reading a book. When you step into that book and you actually have to play it out, for real, it's a totally different ball game.
I was so passionate about wanting the role in 'Like Crazy,' I filmed myself in the shower because that's where one of the scenes was set. It just felt instinctive. It was a close up! It would have been strange if I'd sent off a wide shot of myself. That's not the kind of work I want to do!
I was, like, a history major, and I minored in art and Spanish, but I found myself gravitating toward media studies as time went on.
A lot of times, you're not necessarily off the page because you haven't been able to take the time to prepare a character. It's very easy to find even great actors reading it more like a reading. Things aren't really coming alive yet, even though you know they will.
My writing's like a journey. I'll know some of the stops ahead of time, and I'll make some of those stops and some of them I won't. Some will be a moot point by the time I get there. You know every script will have four to six basic scenes that you're going to do. It's all the scenes where your characters really come from.
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