A Quote by Adam Driver
The most you play a character in the theater is, like, a couple months, and then you put it away.
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I don't put myself under huge pressure because if I don't play well at one grand slam, I know there's another one just a couple of months away.
I think the thing about acting and making music is that it's easy to do both. I'll shoot a movie for three months, and then I won't have to work for however long I want to. So, I can do a movie for a couple of months and then come and do music for a couple. But whatever's hot at the moment is what I'll gravitate toward.
I just didn't want to get bored playing a character, and that's kind of the benefit of doing films; you've lived with a character for four or five months and that's it, and you walk away from that character and you feel like you told a story.
Playing a TV character for seven years is almost like when you do a play. You live, breathe, and everything else with that character 24-7 for six months or four months or whatever, and that gets very deep in your blood. When you do a TV character for seven years, that's a long time. It becomes a seminal era in your life.
I come from film, where I only play a character for three months at a time, and then it's done, so it's important for me to be able to put on other hats and make sure that all of the tools in my toolbox that don't apply to Olivia Pope are still in shape.
When I do a play, it's like agreeing to be ill for a couple of months.
When do we put on the lingerie? Always at the beginning of the relationship - first couple of months, strutting around the bedroom wearing a teddy. Yeah, six months later, you've stopped shaving your legs and you look like a teddy.
There is nothing, not a thing, like the process of creating a character for the stage - you can't get it anywhere else. Unless you're totally method and spend six months living your life like your character for a film, the theater is the place to get that intense acting experience.
Voice work is usually not that big of a time commitment. You can go in for a couple of days or a couple of months, here and there, and just go in and play. I like being able to do that. You don't have that luxury on film sets or television sets.
It's almost like a theater, where I can play a character in every song, 'cause Kamelot songs are very... There's always a narrative going on. There's a story within albums and in songs, so I get to play a character and sing it in a different way than people might recognize coming from me.
I always have to start with a character that I can really hook into, and then build from there. I have writer friends who start from a world, an object or some kind of concept that they then hone and widdle into a story. But, for me, it has to be a character that I can really sink my teeth into and live with, for months and months.
Having been a theater person first, you have the whole character, and you see the arc of the character in a play. And then when you do a movie, you have the whole character - or, if it's a small role, there's not much arc, but you see what the whole part is.
With me, growing up in a theater family and having them be so supportive, from the jump, and being a part of this theater community where the brass ring is working, wherever that is, and then to play a character where he's not really concerned with that and is really just concerned with the monetary aspect of the job, and then to be identified with someone who is the antithesis of your energy and where you come from, has been a very interesting and surreal ride.
I'm not sure if it's because I'm older and I'm thinking about family more, but I'm trying to set up this thing where I can play in one city for a month, and then write music for a couple months, then play in another city for a month, write music for a month. Just so it's not these two schizophrenic, Jekyll and Hyde kind of things; you don't have to be this monster. You get inspired and you can go write one song from that, and then you go back and play a few shows. If I could've done that in the 90s, I would have.
I did a play I think my first six months on the show, called Bullpen. Then I got involved with Theater Forty and did this play called Plastic which is about two male models coming to a casting call.
I always say it takes three weeks to know a character and three months to own it. And I think that's probably true of every theater artist. If you really want to see a performance of the show, wait three months.
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