A Quote by Elaine Cassidy

I choose jobs quite selfishly. I do them for me and the exploration you get to go on with a character... seeing how they react in certain situations, how they develop. If audiences enjoy it, then that's the cherry on top. You don't expect it but it's really nice when it happens. It adds to it and enhances the overall experience.
I love writing songs with people, which is about really taking risks, throwing yourself over the falls and really seeing what you're made of and seeing how it sticks. Seeing how others react to it, and seeing also how it can become a melody and how it can really take off from your experience. It's a way of seeing life unfold on the page before me.
I really try to avoid, you know, rolling out the history. The people are so important to me, and what happens to them, how they react, how things happen to them, this is what is important. I feel that if I can tell THAT story well, then people will go and Google the rest and fill in what they need to know.
As you develop relationships in your team you have to learn how your teammates react to being yelled at or how to put your arm around them and show them how to do things. You have to build those relationships up and understand who that person is and how they respond and choose your way to lead them to hopefully help everyone out.
You really have to act on the force, too. You're involved in a hundred things a day, and you have to react in a hundred different ways, depending on what's going on. And you learn that as you go through your career, how you handle certain situations, interrogations, how you carry yourself. There's a kind of acting to it.
The thing is, the more you fear death, the more you die. So it really doesn't pay off. It's a fear of the dark. Like any experience in life, you wonder, Well, if this ever happens, how would I react? and then it happens, and only then do you know.
That's part of what I remember about seeing the movies that influenced me: the experience of watching them with a crowd and how they react to something.
I don't really know how my family and friends will react to seeing me on screen in a cinema. I'm sure it'll be an odd experience for them, just like I'm sure it will be for me.
The weird thing is I have now met quite a lot of people who are really famous but they are always disappointingly normal and nice. Alan Carr is very nice indeed. Exactly how you would expect him to be, and not that different from how he is on stage.
The way people respond to struggles or express their feelings in difficult situations are very different. I like imagining how characters would react in certain situations.
I'm very fortunate that I get asked to do very different kinds of roles and I realize how much I enjoy that. I enjoy the challenge of transformation. There are actors who play one character, or a certain kind of character, the whole of their lives. I really relish the opportunity to have the challenge to totally transform.
You learn quite a bit about your film from test screening audiences. With both comedies and movies that are intense, you need to calibrate the film and see how audiences react.
No matter how much I plan the overall arc of the character, you get there day one on the film and you shooting certain scenes first, and it goes completely different to anything you ever thought of, and then it's done.
One of the rules that I always follow is that no matter how crazy characters may act, and no matter how absurd or strange their actions may be, that it's justified in the character's mind why they are doing it. Not to get all heady about it, but it's fun for me to test how far I can go with things while still keeping it grounded enough that you believe that the character really believes that what he's doing will get him what he wants. It's a personal challenge to me to see how far I can go with that.
I'm already waiting when Puck gets to the top of the cliffs. I'm not the only one; about two dozen race tourists have made perches out of rocks, watching Corr and me as closely as they dare. Puck glares at them all, searing enough that some of them flinch in surprise. I'm not certain what to expect from her after last night. I don't know how to address her. I don't know what she expects from me or what I expect from me. What I get is a wordless hello and a November cake in my hand.
The only tool we have as artists is selectivity. If you're a painter, you select the color, the lines, how severe they should be. As an actor you develop how angry you should be. You select how angry you should be. You listen to the other actor and then you react. In film, sometimes the other actor isn't even there. You have to play the scene. What I do is I call on my experience on the stage. I play the scene and I hope that I reach a certain level of integrity because that's what I learned on the stage.
I know that I cannot control anyone else's actions but my own, and how I choose to react to situations.
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