A Quote by David Thewlis
I often do that with characters, going back to my bloody drama-school days, in terms of equating them with creatures. And it's very much there as a theme of all the seasons of 'Fargo' as well: the predator and the prey.
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My fear of drama school is that the natural extraordinary but eccentric talent sometimes can't find its place in a drama school. And often that's the greatest talent. And it very much depends on the drama school and how it's run and the teachers. It's a different thing here in America as well because so many of your great actors go to class, which is sort of we don't do in England.
It's very clear that there's a lot of double standards going on. Should there be a 30mph speed limit? Of course there bloody should. And certainly with kids and school food, kids need to be nannied for sure. So give them a bloody good meal at school.
Going back to my playing days, I was at Cambridge United for a couple of seasons, and, of course, Newmarket is just down the road. On my days off, I would go to Newmarket quite often, park up by the gallops, and watch the horses work. It was something else.
There are no characters in the limited series Fargo that are derived from the characters in the film Fargo. It's hard to describe how remarkably true to the film the show is.
I went to NYU drama school, so I was a very serious actress. I used to do monologues with a Southern accent, and I was really into drama and drama school. And then, in my last year of drama school, I did a comedy show, and the show became a big hit on campus.
Having the audience know more than the characters is precisely where you want to be in terms of drama. You can engage them much more when that is the case.
That people will object very much to seeing a predator killing its prey, and yet, in the news, will accept showing shots of people shooting one another.
The 'Fargo' characters, they're the characters of my people. They're stoic, hardworking, uncomplaining, and I loved them.
I think anybody with an insecurity, which is everyone, appreciates the fact that it's much easier to be a predator than it is to be prey.
I work with a group of actors, and whenever one of us has an audition, we all get together, and we all work together on it. I think it takes us back to our film school days, our drama school days, us just working together and figuring it out because somebody else is going to see something in the material that you won't see.
Shakespeare's plays often turn on the idea of fate, as much drama does. What makes them so tragic is the gap between what his characters might like to accomplish and what fate provides them.
I did all sorts of jobs after drama school - working in a bar, as a teaching assistant. I probably learned as much from them as I did at drama school.
Don't start writing your novel until you know your characters very, very well. What they'd do if they saw somebody shoplifting. What they were like at school. What shoes they wear. Spend days - weeks, months - being them until they thicken up and start to breathe.
It's one of my favorite seasons of the year: Back to School. As a kid, I loved fresh school supplies, new outfits, the change of seasons, and the chance to crack open a new textbook.
It's very much an exploration of the human condition and how different people react and respond to their lives. And what they present to the world, in terms of who they are as characters and what is going on behind the mask, in terms of what demons their holding... and how that interacts.
I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.
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