A Quote by Emma Thompson
If there's a role you're playing and there's a great deal of material to explore because the person was real then it's a completely different preparation time and message to playing someone fictional.
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It was fun playing a horrible, snotty kid in 'Harry Potter', and then playing Prince Charming where I was also singing and playing guitar, and then playing a completely different character.
When you're playing a real person there's a balance between playing the person in the script and playing the person as he was in life. You have to be respectful and true to who that person was, but at the same time tell the story in the film.
When you're playing a real person, there's a balance between playing the person in the script and playing the person as he was in life. You have to be respectful and true to who that person was, but at the same time tell the story in the film.
The only reason I'm in 'Kingsman' is because Matthew enjoys playing with the unexpected. I'm not playing Harry Hart because I'm the butchest actor in Britain. I'm playing it because he said I'm the last person anyone would expect to see in that role!
In many ways, playing a real person is slightly easier because you have a road map. When you're playing someone fictitious, there's myriad ways in. With a real person, there's boundaries, and that sometimes makes the work easier.
It's more difficult playing a real-life person than a fictional character - you can go easy on yourself with a fictional character.
If you're playing a real person, then you want to do a certain amount of research, but that's only going to be so useful to you. Each role requires a different kind of approach to get ready.
I believe you have to learn how to win. And that just doesn't come from going out on the basketball court and playing. That comes from hours and hours of preparation, preparation before that game, preparation for the other team you are playing, mental preparation.
If you're playing a fictional character, you can create a character, you can sort of take certain liberties. And when you're playing a real person who's actually standing there watching you, you know, it's - you do feel a weight. You know, you feel an obligation to not only be - to give the best performance that you can, but to make sure that you represent this person.
For me, there's always a huge attraction in playing real people. But with it comes an incredible sense of responsibility because you're playing a real person in a real event.
I loved playing Walternate because he was completely the same character, version 1985, and then it developed in such a different way, physically and mentally. So, to be able to play that, in the same television series, as playing the other ones was a fantastic gift for me.
It's been a long time since we've been out there playing new material, and we have really enjoyed that. Of course we still enjoy playing the Yes standards as well, but it's great to have a bit of a challenge and pull off new material.
How do I do that preparation [for film]? Just an immersion. I have a musician's, I guess, ear for the sound of the voice but it's also important to me, in the case of [playing] someone who is controversial, to get the outlines of the character right because how they present themselves to the world has a great deal to do with how people feel about them.
I think of myself as a jazz player, and my music as a natural extension of the jazz tradition. What I'm doing is completely free improvisation ('composing in real time') with nothing predetermined. I've had a lot of experience playing many different kinds of music and several different instruments, and since I tend not to waste anything, it all shows up somewhere in the music I'm playing now.
Of course, when it comes to Japanese role-playing games, in any role-playing game in Japan you're supposed to collect a huge number of items, and magic, and you've got to actually combine different items together to make something really different.
Watching and learning from the great Josette Bushell-Mingo, who was playing Cleopatra in Antony and Cleopatra at the time, and then to return to the same stage six months later playing a lead role, was incredible - I fell in love with the poetry and the breadth of the language so much that I didn't want it to end.
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