A Quote by Andy Serkis
In 'Tintin,' it's like a live-action role. You're living and breathing and making decisions for that character from page 1 to page 120, the whole emotional arc. In an animated movie, it's a committee decision. There are 50 people creating that character. You're responsible for a small part.
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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.
You can make an interesting character in a small portion of a movie, for a character that doesn't have that much on the page, if you just find the contradictions. That's something that I try to bring to my performances.
The art of fiction is one of constant seduction. You must persuade the reader on page 1 to start reading - on page 50, or page 150 and yes, on page 850.
I played this character twice in live action, and now I've become an animated character. It was actually fun to see myself drawn - I've never been a drawn character before.
When I'm writing a comic book, I'm thinking about a character that I'm going to be drawing on the page. I've never drawn a character to look like who I want to cast in a movie because I don't think that way. I'm a real monomaniac. I do one thing at a time.
I think making a great action movie is one of the hardest cinematic endeavors. By definition, smart characters avoid action. Smart people don't go down dark alleys, but if you're making an action movie and you want to have an action sequence, somehow you have to get that character into that dangerous situation.
And increasingly, as people live online, we are used to making really snap judgments about somebody's character based on their Facebook page or the way their blog feels or look.
I think as an actress, I prefer having a character on the page. It allows you to be more invested in actually creating a whole person. It's easier when you're not trying to come up with your next line on the spot.
For me, to take a movie and travel the world and go and work with these cultures and an international cast and have this spy thriller that's not just about character but also action and suspense, they're very challenging films as a producer to make, creating stories, creating set pieces that serve this character [Ethan Hunt].
'Fast & Furious' is Hollywood's 'Dabangg.' It is that big there, so it obviously feels amazing to have played a part in it. The role is small but very interesting. People will see me in full Hollywood accent, and the character is not like typical Indian character.
I'm usually more concerned with how things sound than how they look on the page. Some people write for the page, and that's a whole other thing. I'm going for what it sounds like right away, so it may not even look good on the page.
I put on the page a third look at what I've seen in life - the reinvented experience of a cross-eyed working-class lesbian, addicted to violence, language and hope, who has made the decision to live, is determined to live, on the page and on the street, for me and mine.
I can't go on to page two until I can get page one as perfect as I can make it. That might mean I will rewrite and rewrite page one 20, 30, 50, 100 times.
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.
I'm not much of a preparer. I think sometimes as an actor you need to go out and learn some skills, but in terms of preparation for understanding the character, it's all on the page, and if it's not on the page, you're in trouble.
In 'The Smurfs,' I was actually a live action character. So, I was a real person in that movie. But I was working with animated characters, which is very strange because they're off recording their work, and we're kind of reacting to nothing when we're doing the film.
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