A Quote by Adewale Akinnuoye-Agbaje

I'm very much the type of actor that once I embody the character, I could stay in it from the beginning to the end. — © Adewale Akinnuoye-Agbaje
I'm very much the type of actor that once I embody the character, I could stay in it from the beginning to the end.
I'm Irish and very proud of being Irish, but as an actor, your extraction should be secondary, really. You should be able to embody whatever character it is, wherever the character comes from. That's always been important, for me. I'm an actor who's Irish, not an Irish actor.
I think actors are getting so much more power these days, but I'm not. I stay very much away from the decisions, the way in which things are orchestrated, what's been changed. I just try to stay completely in the role as the actor and as the character.
As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch. They're going on the journey with you, as the actor and the character.
I'm very blue collar myself. So it was easy for me to embody that in a sense. It's much harder for me to embody Norrell than it is to embody Terry Donovan.
To be an actor and a director, I actually felt it helped me tremendously to be in the scenes of The Hollars, because as you can see, they're very intimate, very intense scenes. You don't want to break the actor's character and you don't want to break their momentum, so as the actor, I tried not to call cut as much as I could, and almost make it feel like a play, just set this environment where these amazing actors could do what they wanted to do.
It's so much easier to write for an actor than for an imaginary character and then try to fit that character to an actor. It doesn't work very often in my experience.
The one thing that never changes in America is that the white straight male is born with a promise. Women are not promised very much, and we embody our disappointment from the beginning.
A film has a beginning, middle, and an end. There is a certain amount of time that you have to embody these people. You know the entire story arch. But on TV, you have to let your guard down. You don't know how long the show is going to last. There is this excitement that comes with developing a character long-term.
In dramatic writing, the very essence is character change. The character at the end is not the same as he was at the beginning. He's changed-psychologically, maybe even physically.
Once you see the entertainment world from both sides, you really get a greater understanding of how it all operates. As an actor going into screenwriting, I was able to understand what type of dialogue feels natural and what an actor could actually say.
As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch.
If you're a certain type of actor, then eventually stepping into a director's shoes is a natural transition. I've always been the actor who's very focused on the narrative, where my character is in the story, and how I can benefit the story. I've always had a technical aspect of what the lens is, how the camera is going to move, how I can feed the information the director applies within that move. If you're that type of actor, narrative-based, technically proficient, the next step is actually not that far.
I suppose the underlying current for me is the idea of not doing something I've done before. I call myself a character actor and I'm always trying to stay a character actor.
How you look is part of what acting is, but the way I look at it, every actor is a character actor. Someone once told me at a casting, 'You're a character actor in a leading man's body,' and I can live with that.
I really am a guy who can be black and white. I don't understand, too much, the gray. And truly I can go from one type of character to another type of character.
Once you embody the language, the character comes really naturally, especially when you put the costume on.
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