You try to break it down to weeks at a time otherwise you sort of make yourself crazy spinning out going from one....you just can't get your head around one of them fully. So I'm more task oriented. I like to sort of like focus on one thing for a couple of weeks...and also they're all in different stages of development.
I wash my hands, wonder how an awful day could turn even worse. It seems like at some point you'd just run out of awful.
Sometimes you do complete run-throughs of scenes, sometimes you break scenes down into little bits. It just depends on what the actors like to do. It's almost like jamming.
I'm a theater actress. I love rehearsal. I could have six weeks of rehearsal and think it's not enough. But on film, you don't get that luxury.
I've done a lot of fight scenes, and I always find that it's better that they be meticulously choreographed. You want them to look as real as possible, but you don't want anyone to get hurt. So I believe in really working it out in rehearsal, and when you get to the set, just go for it 100 percent.
When you break your pelvis, you can't do a whole lot. It took me about six weeks to be able to get out of bed. Anything you do that shakes your body is painful all over, so you can't cough, you can't sneeze, and going to the bathroom is impossible.
Going into a game, I know that I'm going to run a lot. I know I'm going to have a lot of volume, and I know that I'm going to get hit a lot, which is great. Sometimes we try to deliver some blows, too, try to break as many tackles as possible. We know it's going to hurt the next day. That's why we love the game.
There's a lot of research behind the scenes that you don't get to see, but I have an instinct that my dad nurtured from when I was born. I was very lucky then.
Veep is my priority. Veep is my home, but I have nothing but obviously, good thoughts and really want Curb to be Curb. So anything I can do, as long as Veep is not getting hurt, I guess is the answer.
I've been on projects before where there's no rehearsal, and you walk in on set and that's literally the first time you've ever played the character, and then I've had times where there's been three weeks of rehearsal. I like both.
Terror is the instinct that tells you to run, dear God, run, she murmured. Run for your life. But it just makes you into meat. Predators take the ones who run. Horror is the mind-thing, the worm of knowledge you can't stop turning over no matter how awful it is. It grows in your mind and destroys you by your own intelligence.
There's an awful lot of scenes where we don't know what the scene's going to be about, we ask the audience, pick a place that the scene is happening, pick the relationship, tell us who they are, things like that.
Theatre is all about the process and the sense of community that is created. You have weeks of rehearsal, time to explore your character and get to know the other actors. There is opportunity to try off-the-wall ideas, to find layers and nuance over weeks. You become like a second family with your cast.
Gronk's going to run around there like a Clydesdale, run through everything, like a big boulder. I'm more a guy who can make people miss, break somebody down with a juke move or slide off tackles. Gronk can just break everything.
I don't do a lot of rehearsal. I don't like rehearsals. I rehearse the day or morning. I spend one hour and a half with all the actors, and we go over the scenes, and we change it and change the dialogue, and we do a lot of things to it, but prior to shooting, I don't really rehearse.
I usually go in ahead of time, like at a rehearsal, or a meeting, and tell them, "It may appear that I'm going to go haywire, but I'm not." I always map out what I'm going to do. Still, a lot of it is improvised.