A Quote by Alfred Hitchcock
When an actor comes to me and wants to discuss his character, I say, 'It's in the script.' If he says, 'But what's my motivation?, ' I say, 'Your salary.'
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'My character wouldn't do that.' That was always my favorite thing people say: 'My character wouldn't do that.' I said, 'Well, it says right here in this script your character does that.'
I went to drama school so I had quite a regimented classical training, regimented process of analyzing a script. I'll go through the whole script and highlight everything my character says about me, and in another color I'll highlight what other characters say about me, and I'll highlight all the things I say about other characters.
An actor cannot say no, it’s against his job. If he wants the part he has to say yes. [But] it’s very bad for you to say you can do something and then not do it, so you have to manage to do it.
"I'll be your family now," he says. "I love you," I say. He stares at me. I wait with my hands clutching his arms for stability as he considers his response. He frowns at me. "Say it again." "Tobias," I say, "I love you."
They say that when god was in Jerusalem he forgave his murderers, but now he will not forgive an honest man for differing with him on the subject of the Trinity. They say that God says to me, "Forgive your enemies." I say, "I do;" but he says, "I will damn mine." God should be consistent. If he wants me to forgive my enemies he should forgive his. I am asked to forgive enemies who can hurt me. God is only asked to forgive enemies who cannot hurt him. He certainly ought to be as generous as he asks us to be.
There are some indications of how the character should behave based on the script, and then as actor makes it his or her own. I got to know one of the writers, Chris Terrio, and we were able to discuss things at length and figure out who this person is to create a real psychology behind what is, perhaps, in a comic book, a less than totally modern psychology. I can only say I've been asked to play an interesting role. A complicated, challenging person.
If I were sitting down with George Steinbrenner (to discuss a salary) and based on what Dave Winfield got for his statistics, I'd have to say, 'George, you and I are about to become partners.'
When you've written a script, if an actor has a question you're the writer as well as the director, so you have the answer. And if you don't, then you just be honest and say 'I don't know' and then you discuss it. So, working with the actors is fine.
When you are writing a character, what the character says is obviously crucial. But what the character doesn't say is absolutely as important as his words.
Many times, when a director reads a script and wants somebody who says 'Far out', then they let me do what I want with it and that's usually more interesting for an actor.
Here's a simple way you can engage your intuition. When you are about to say something and you're not sure if you want to say it, ask yourself, "What is my motivation?" When you check your motivation you engage non-physical guidance and you will not be alone in you assessment.
I remember when I worked with Fassbinder in Germany, actors wrote letters to him. But you see, a director wants to discover you himself. He doesn't want the actor to say, 'oh, I'd love to work with you' - the actor says that to other people, too.
I do not say that all men are equal in their ability, character and motivation. I do say that every American should be given a fair chance to develop all the talents they may have.
And when you say the policies are what caused this war - American policies - that's not to say that they're wrong. It's not to say that the policies were made by madmen or evil people. It's simply to say that you better understand the motivation of your enemy if you're going to defeat him. And the man who is motivated by a belief that his religion is being attacked by a superpower is much more dangerous than a man who's mad at you because you have women in the workplace.
When Lars Von Trier calls me, I say yes without reading the script because often the script hasn't been written yet, and if Fincher called me again, I'd say yes without reading the script, too.
A man is what he is, not what men say he is. His character no man can touch. His character is what he is before his God and his Judge; and only himself can damage that. His reputation is what men say he is. That can be damaged; but reputation is for time, character is for eternity.
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