A Quote by Birgitte Hjort Sorensen
When I approach any script, I always try to find what I would relate to most in it.
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With any project, but especially in television, I always try to look at where the character is starting from and where he's going to end up, and try to find the biggest arc that makes it the most exciting to play.
Whenever I approach any character, I try to find examples to draw upon.
I always find it fun to read a script and then find the messages in the script because I believe every story has them.
I've always wanted to be a communicator of ideas through music. Today, I wanna be the most effective musical communicator of social change I could be, so I try to find different ways to do it and I'm always challenging myself to find new things, learn new instruments. But I always try to find in my heart, what it is I really want to say with words.
What's going to be hard for me is to try to divorce myself as much as possible from what I wrote. I'll have to approach it simply as raw material and try to craft a film script out of it.
Coming from an action background, I always approach the action sequences in any script as kind of placeholders.
When I was younger I would always listen to female artists that are my age now and I felt like I couldn't always connect with them because all these people would constantly sing these party songs and I couldn't always relate to them. When I was younger it felt very alienating and I try my best to be the person that I would've needed, for other people.
I don't really try to judge any character that I play, afterwards I figure it out, but while I'm working on the character, I have to find something in them to relate to.
When you try to be true to the script, changes occur. A script is there to show us a certain direction. But when you actually have the actors in and you start shooting the movie, you have the actor say a line and it doesn't sound right so you change it and make it different. It's the script that gives birth to these changes and the more you try to stay true to the script, the more that happens.
The criteria [to take or refuse the role] is that I would love to have some kind of dialogue or communication with the director. I need to understand that we can communicate and that we like communication. That's something I have to have a strong feeling about. Secondly, I have to find the script intriguing or interesting. I don't have to understand the whole script, but I do have to find it intriguing. If those two things are present, that would probably be a yes.
My approach is not a scientific approach. For that, we have greater minds than mine. My approach is: I am in the possession of a text, it has survived so many centuries, and it is my task, my pleasure, to try to decipher it and find all the things that have been said about these few words by generations and generations of commentators. That is what I'm doing. I don't innovate anything. I'm just repeating.
I always want to try and see what the appeal is in anything. It's the healthiest and most honest approach.
For a writer, they say write what you know. As a performer, you find it in yourself, in your heart. You relate to the character. You try to live it, try to have it be real for you.
My approach is always the same. I try to be as honest as possible. Find the real honesty and humanity in the character because even a fictional character is supposed to feel real. And my job is to find that reality and bring it to the screen.
My idea was that if I loved to sing, I would just do it anywhere I could, and always go out and always try to learn and try to perform, and try to find opportunities. Little by little, I sort of built upon that idea.
Getting the right script that will work at the BO and relate to the audience is what matters. You also need a great director to bring the script to the screen in a form you envisioned it to be.
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