A Quote by Anne Fletcher
I'm always open to somebody else having a better idea, but I feel like, if it feels real, then people aren't thinking about it and they're just doing the acting of it.
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If it feels good coming out, then I really don't care about anything else, for real. It's all about just having fun with it. If it feels like less work, then the project is coming out better.
I would just like to be able to give to people through acting. If I can entertain people by being somebody else and allow somebody to feel something, then that makes me feel good.
A good collaboration I think it's really, truly a vibe thing. The people who are most excited about collaborations are people in the business, people who are thinking, "This is going to be great press," or, "This is going to expose you to all these people you haven't reached before." I prefer not to think like that. I'm more, if you meet the person, you like the person, you've talked to them, you feel connected, you feel like there's a creative exchange, then it kind of happens by itself. I'm open to it, but it has to feel right. If it feels forced, then I'm fearful of doing it.
The most important thing we can tell young people is not to be an imitation of somebody else. That their life is special. They are the creator of their life and their way and find something that they enjoy doing that doesn't even feel like work. It feels like a passion. And then just by doing that and bringing that to the world, they become architects of change.
The one nice thing about doing a character for a long time is, you begin to feel more comfortable, and you are thinking less and behaving more. It's always best not to be thinking a hell of a lot while you're acting, because you want it to be as spontaneous as possible, not too intellectual. Just behaving and listening to other people who you're doing scenes with. I always like the latter when it looks easy, even though it may not be.
I don't really know how it feels to hate on somebody else or just worry about what somebody else is doing.
I feel the way I always do about sequels. If there's an idea that excites me enough, and it feels like a way to do something new and fresh, then great. But I don't ever want to do a sequel just for the sake of doing a sequel.
It's just like an idea, like a chorus, and then we just jam on it - it happens in loads of different ways. The best songs I find always come from the subconscious, like when you don't think. Not to be pretentious about it, but usually songs just blurt out rather than thinking about it. I never write lyrics and then do a song, I find that really hard - that's like a real skill.
The most significant piece of advice my father gave me early on about acting was, don't get caught acting. Really believe in what you're doing and then commit to it. Even if it feels uncomfortable, even if you feel that you're gonna look like an ass. It's all acting, but find the truth in a moment as opposed to just pretending you have and rather than trying to act your way out of it.
It's like you're wearing a really amazing dress and high heels and you've just gone to the hair salon and gotten a facial and you feel fabulous, and then someone says, You look really awful. You're thinking, Was I completely delusional? That's what having Lyme disease feels like. It was very lonely and for many years I just didn't talk about the way I felt because I assumed if there's nothing wrong on paper, maybe this is just the way a human is supposed to feel, and I'm just complaining about it.
I was always cycling for my dad. Then the coaches got bigger, and my results got better. Suddenly, the responsibility grows, and I'm doing it for somebody else, I'm doing it for a programme; I'm doing it for the country. I'm doing it for, like, everybody.
The time I spent thinking about how I was better than somebody else or worrying about somebody else's attitude was time I could put to better use.
It's the disease of thinking that a having a great idea is really 90% of the work. And if you just tell people, 'here's this great idea,' then of course they can go off and make it happen. The problem with that is that there's a tremendous amount of craftsmanship between a having a great idea and having a great product.
To hear that you're doing something that other people are enjoying, it's a fun game. It's like hitting a tennis ball over the net, and somebody hits it back. That's what it feels like with the fans. It feels like someone else is participating in my creation, and it's quite incredible.
There's a way of doing comedy that feels true to the person doing it, that doesn't feel like clown-work or silly faces and antics, but that feels real - like you're playing a real person who has real thoughts and feelings, and it's very grounded. I started to watch all comedy through that prism.
We have so much access to one another through technology and everything else, that we're very much used to people being real. When folks go on TV and they're basically acting - if they were good actors they'd be acting and paid for it for a living, but they're not good actors. When we see bad acting, it doesn't look like bad acting, it looks weird, and we are turned off by it. I'm not talking about anybody in particular, that's just politics right now. This generation, I feel like, has incredible bullshit detectors.
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