A Quote by Caitlin Fitzgerald
In a play, you know where you start and end and all the stops you have to do, but in television, you can't construct this carefully planned out arc for your character. You often get a script and you're shooting it two days later, and you don't know what's going to happen next. It's one of the harder things that I've done.
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Unfortunately, the public might not know that we get a script usually two days before shooting. So sometimes I'm shooting an episode and don't even know how it's going to end because I haven't read that yet.
As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch. They're going on the journey with you, as the actor and the character.
As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch.
I was nervous when I first started True Blood because if you do a play or a movie, you know the complete arc of the character. You can see the end. But with a show like True Blood, you don't know what's going to happen.
Somebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.
In a film you only get two hours to do this big arc and so you have to pick and choose your moments carefully, but with television you get to take your time and just take it episode by episode and discover new things.
You know and I know that as soon as it's done, you have to get it out there. You want what's best for it. And especially in owning a label, which some days is the greatest thing for me and in some days is my demise because you see the truth and the work that goes into things and you see things happen and you see things not happen, and all you want in this world of currency right now is popularity, that's it!
In real life, you don't know what's going to happen to you, so why would your character know? It's liberating to play the emotion your character is feeling at the time and not know what's coming up. I like it.
One of the interesting parts of being on a television show is you often don't know the fate of your character until you're reading the script. I always look forward to finding out.
With a film, you know the beginning, middle and end of your character's arc. But on a TV show, you have no idea where they're going to end up.
When I am writing I don't set a certain number of pages. I do know that the further into a script I get the faster it goes. As soon as you start making decisions you start cutting off all of the other possibilities of things that could happen. So with every decision that you make you are removing a whole bunch of other possibilities of where that story can go or what that character can do. So when I get maybe 2/3's of the way through I can see very clearly where it is going to go.
Celebrity Apprentice' was something where you don't know what you're going to do the next day. Every two days, somebody goes home, and you don't know if the next day you've got to be the project manager or what's going to happen, so you can't really prepare. You really have to be on top of everything.
I prefer working, period. I think that I like doing film more just because when you get a script, you have the story from start to finish, so you can really find the character's arc, and when you walk away from it, you know you're sort of powerless to what happens.
People say, 'Well, whose career do you follow? Where do you see your career going? What movie do you want to do next?' And I can't tell you what type of movie I would go and do next. I would have to read the script and feel for a character. And if I feel in my gut for a character, I know that that's somebody I have to play.
Usually, you get a script and you have the whole story. All the acts are there, for a play. You know what happens in the first, second and third acts, and you know how it starts, where you go and where it finishes. [With American Horror Story: Asylum], it's a whole new experience. I don't know where it's going, and I don't know what's going to happen next. It's been an interesting way to work. It's made me work in a much more fluid, braver way, just taking every chance that comes along.
Film and television are just different. Film is cool because it's a complete package. You know the beginning, middle, and end. You can plan it out more, which I like. But with television you get a new script every week, so it's constantly a mystery as to what you're going to be doing.
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