A Quote by Charles Dance
A while ago, I did a television adaptation of 'Bleak House,' and the character I played, as far as I was concerned, had no redeeming features whatsoever. I wasn't about to try to find any; I didn't need to.
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If I have to play an obnoxious character, try to find a redeeming feature of him. The most obnoxious people in the world were people, and they had had a reason for doing what they did. So you try to find that and let the obnoxiousness come out.
I used to think that the Civil War was our country's greatest tragedy, but I do remember that there were some redeeming features in the Civil War in that there was some spirit of sacrifice and heroism displayed on both sides. I see no redeeming features in Watergate.
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.
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.
Johnny Ringo to me was just the best antagonist that I've ever played, because I played him as a guy who has a death wish and had done everything that he wanted in life. As far as he was concerned, a gun fight was about as exciting as it was going to get.
I never ask my wife about my flaws. Instead I try to get her to ignore them and concentrate on my sense of humor. You don't want any woman to look under the carpet because there's lots of flaws underneath. Joanne believes my character in a film we did together, "Mr. and Mrs. Bridge" comes closest to who I really am. I personally don't think there's one character who comes close... but I learned a long time ago not to disagree on things that I don't have a solid opinion about.
The first CD I had, that I think had had any redeeming qualities to it, I did when I was 25 with a relatively small label called Chiarascuro.
I did The Seagull, the Chekhov play, on Broadway, a couple of years ago, and I had done it in London, and I became completely obsessed with the character, Nina, that I played in that. She's an actress. I couldn't find a play after that, that I wanted to do, because I couldn't think of doing anything else. Every part is a disappointment, once you've done that part.
Amy Winehouse asked me a while ago if I had written any new songs. I played her something, and when I had finished, she looked at me and said, 'Is that it? Is that all you've got?'
I would really like to focus on directing features, and then eventually take that skill set back to television. On features, you have more control. On television, the producers are the creative forces behind it. Directors come and go on television.
My mother had just died, and I had to walk a long way behind her coffin, surrounded by thousands of people watching me while millions more did on television. I don't think any child should be asked to do that under any circumstances.
I'm trying to make really flawed characters that have got redeeming features so people can say, 'I don't really like that character, but I can understand a bit where they've come from.'
The house, while sound in wind and limb, was described as being of 'no character.' We didn't think then that it had anything but character, rather sinister perhaps, but definitely character.
The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.
I think that the line between television and features started to blur a couple years ago. The standards started to become the same, which is that the idea had to be very loud. The show didn't have to be loud; the idea had to be loud. It had to cut through the clutter.
I knew that I had to find out more about van Gogh. Even though I was far too young, and felt I did not have sufficient technique to write a book about Vincent van Gogh, I knew I had to try. If I didn't I would never write anything else.
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