A Quote by Emily Osment

Actors pull from their own experiences to bring reality to the characters. I wouldn't want to play someone who's a lot like me. There would be no turning it on or off. — © Emily Osment
Actors pull from their own experiences to bring reality to the characters. I wouldn't want to play someone who's a lot like me. There would be no turning it on or off.
It's really important to me that the actors bring a lot of elements of the characters to the process so they own it, so it's personal to them, so it's not just me saying, "You stand here, you say this, you do this, you feel this." No, you bring it up from in here and then let's work with that.
Just like how male actors get to play varied characters, I would also like to play characters that people don't normally see female characters portraying on screen.
I would love for someone to offer me a serious part in something. I don't know if I could even pull it off, but I would like to be the cowboy that rides off and someone shoots him off the horse in the middle of town. Just a serious role. It wouldn't have to be a big one.
I often hear actors say during their interviews: 'I want to play a crazy person, a murderer, or someone who's on edge.' But that question scares me. I mean, of course there are characters I'd like to play, but I can't really say specifically who they are. It's much too hard to play a convincing normal person as it is.
A lot of actors and actresses pull from past experiences.
I was like the class clown in school so I guess I would say I did like the attention. In church I did a lot of plays, my mother made me play characters, do a lot of drama and acting, trying to become someone else. So it helped me create who I am, to create Snoop Dogg.
Usually what happens is somebody grabs me and they always pull me off to the side. Nobody ever does it publically. They say, "I didn't want to be here." Or, "I don't usually like people like you." Or, "I didn't believe the things you actually talked about would work. I'm here to tell you that you converted me." That happens a lot.
You have to get beyond your own precious inner experiences. The actor cannot afford to look only to his own life for all his material nor pull strictly from his own experience to find his acting choices and feelings. The ideas of the great playwrights are almost always larger than the experiences of even the best actors.
People always say that music is a universal language. It was very, very true. We could show up anywhere with any people speaking different languages and we could just be like, "You want to play that song? Yeah, okay." We would usually want to play Latin American songs, and they would usually want to play Santana or Jimi Hendrix and stuff like that. So we would trade off. So yeah, we were able to make a lot of friends that way and meet a lot of local musicians. It was a great experience.
Before there was any talk of a movie, people would sometimes ask me what actors I would imagine playing these characters. And the only thing I could ever say is: I have such a clear idea of these characters that they'd have to play themselves.
My process is to be by myself when I record. It's quite an emotional performance to pull off when someone else is in the room. I prefer to go away and have my own time with it, bring it in later.
I tend to play strong characters and people just assume that I would want to play romantic comedies, which I would love to do, but there are other women that do it so great and they maybe couldn't do what I do, play the kind of characters that I play.
Obviously, once you're finished, you're like, "Okay, I have to make this a movie now, and I need people - bodies to play these parts, and actors to bring this thing beyond a script." But when I was writing it, I wasn't thinking of actors; I was really thinking about creating three-dimensional characters.
With my physicality and my face, I don't think I could pull off a completely righteous guy. There's something devious about my eyes. I like characters with flaws and to see how they overcome those flaws. I want to play real people, and they're flawed, not perfect.
When you're with another actor and doing something very intense, often you pull them over to your side, or they pull you over to theirs. But if you stay in your own truth, you can play that perfect tennis match. I always want to bring my power, but not in a way that eliminates the whole game!
When you are dealing with something that's crazy, you still want actors to play characters and find the reality of the situation, no matter how absurd the situation is.
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