A Quote by Elizabeth Marvel
Whenever I approach any character, I try to find examples to draw upon.
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My approach is always the same. I try to be as honest as possible. Find the real honesty and humanity in the character because even a fictional character is supposed to feel real. And my job is to find that reality and bring it to the screen.
My approach is literally what is being told in the scene. I try to be as real as possible, and I try to find my own truth in it and figure out how to best serve each character.
When you approach it, and I hate sounding like the pretentious actor, but yeah, I think you have to find things within the character that are likeable, or at least human, and not to go at it with any sort of predetermined notions as to what that character is.
I don't have any particular method, my approach is very simple. I try to understand the emotional graph of the character.
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.
When I approach any script, I always try to find what I would relate to most in it.
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 try to do as much as possible for every character. Some of them, it is easier to do the research because you have either real examples that you work with, maybe some specific person that inspires you in that case, or the performances from other people, or the characters, or a character from a book.
Whenever there is a new song out, we'll sometimes try to rehearse a celebration so when one of us scores a goal, we can celebrate it together. I find this a nice thing between team-mates to show the friendship between us, and I try to do this whenever I can.
My approach is not a scientific approach. For that, we have greater minds than mine. My approach is: I am in the possession of a text, it has survived so many centuries, and it is my task, my pleasure, to try to decipher it and find all the things that have been said about these few words by generations and generations of commentators. That is what I'm doing. I don't innovate anything. I'm just repeating.
I don't really approach a character as to whether or not it's good or bad. I just approach a character as to where it lives in me.
I believe in method acting. Whenever I'm working on a character, I start behaving like him. I start doing these things which the character would normally do. Maybe that's the way I function as an actor, and I believe in it. And that's how I try and portray a character.
Joy is as infectious as any disease. When you see a few people dancing, suddenly you feel your feet are ready. You may try to control them, because control has been taught to you, but your body wants to join the dance. Whenever you have an opportunity to laugh, join; whenever you have an opportunity to dance, join; whenever you have an opportunity to sing, sing - and one day you will find you have created your paradise.
Whenever I write, I try and approach my stories from some kind of universal theme or idea or emotion.
Internationally, there are countries going well beyond the course, with airlines, transportation. There are systems around the world that have explored mining, rail transport, television, communication, Internet service - there very common examples around the world that we can draw examples from.
I always try to approach character first and foremost viscerally.
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