A Quote by Alexandra Daddario

I use a lot of sense memory and, well, I can't really avoid getting into character. — © Alexandra Daddario
I use a lot of sense memory and, well, I can't really avoid getting into character.
I took Meisner for a long time. I use a lot of sense memory and, well, I wouldn't say Method, but I can't really avoid getting into character.
You don't really have to do the things that your character is doing. But us actors, we use something called sense memory. I've certainly been drunk before, and part of my job is to recall that without getting drunk.
I remember in one of my early films I had a drunk scene. It was Kiss Me Goodbye, with Sally Field, and I was playing this kind of nerdy guy who gets drunk and dances. And so I thought, "Oh well, I'll just get drunk and do the dance." And it was wonderful, but then I had the rest of the day, and the next day. So I learned that you don't really have to do the things that your character is doing. But us actors, we use something called sense memory. I've certainly been drunk before, and part of my job is to recall that without getting drunk.
Yeah, Jacob transforms a lot in 'New Moon.' Not only physically, but mentally and emotionally as well. So it was a matter of getting to the gym and eating the right foods and a lot of it. But also, reading and studying the book and my character over and over and over again so I could have his character down as well.
If you are lucky as an actor, you are doing a character that really matches where you are in life, or you're doing a character that is not where you are. If it's somewhere in between, you have to use a lot of imagination and a lot of thought.
Well we've got to do a lot of kung fu choreography, which was really cool. Like I have, you know, like the big hammer that I use, kind of like a staff in a sense. So I get to use that like a really cool weapon. Kung fu style. And it's just really fun to get to learn that and execute it in a way that looks cool on screen. It just feels really rewarding.
When parents want you to do really well academically, they want to avoid you getting into anything that would distract you - you know, rock and roll music, or really serious, long novels that you get so absorbed in, you forget to study.
There's a lot to be said for getting really comfortable in a character.
It's really an organic sort of process. You start off with the character on the page. You fall in love with that character and you have to represent that character well and I think it's just an evolution there. Using the accent and speaking the lines with the accent in fact opens the door to who the character really is.
It's the nature of an actor to have to use sense memory.
I started to realize, a lot of times if you go into your memory, your sense memory, you know more than you think you do, from having watched and listened.
Alternative medicine people call themselves "holistic" and say it's the "whole" approach. Well, if it's the whole approach, let it be the mind as well. Use logic, use sense, use the incredible five wits you were given by creation.
When I'm creating a character, it's a little bit like what my theater teachers used to tell me about Stanislavsky, like if you're using sense memory to do a scene - if you have to cry in a scene, you try to remember something in your life that made you cry and you use that in order to get the tears.
If a script demands a lot of stars we can't avoid it. Instead of complaining about getting a meaty role, I'd rather be glad that I am getting recognised for my work.
We speak of memorizing as getting something 'by heart,' which really means 'by head.' But getting a poem or prose passage truly 'by heart' implies getting it by mind and memory and understanding and delight.
Equities will do well over time - you just have to avoid getting excited when other people are getting excited.
This site uses cookies to ensure you get the best experience. More info...
Got it!