A Quote by Errol Flynn
You once liked the blissful mobility, but then you wonder, who's the real you? And who's the chap on the screen? You know, I catch myself acting out my life like a goddamn script.
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I try and imagine myself in situations and figure out how I'd have reacted and responded to them, and then bring that insight into my acting. Much of acting is about borrowing from your real-life experiences.
I live by fallacy. 'If I get enough nice Ikea furniture, I'll be a grown-up.' Then I catch myself. Or, 'If I get off by myself, away from the stress of modern life, I'll be OK.' Then I catch myself.
A work of art... is not a living thing... that walks or runs. But the making of a life. That which gives you a reaction. To some it is the wonder of man's fingers. To some it is the wonder of the mind. To some it is the wonder of technique. And to some it is how real it is. To some, how transcendent it is. Like the 5th Symphony, it presents itself with a feeling that you know it, if you have heard it once.
I was cast last minute for Casino Royale. They asked me to fly to Prague. I liked the script very much. I flew to Prague and did a bit of an audition. I was really focused and stressed out. And Daniel Craig was there. He was very, very blonde, like a Steve McQueen. He's moving a lot in real life. He's quite nervous. He was very lovely, very patient, and really connecting with me when we did the screen test.
When you realize the writers start writing to who you are, you're basically reading reviews of yourself. And then it becomes this cyclical nightmare where I feel like I need to play into it, then I find myself acting like the character in real life.
Once the film is done, then I like to watch myself. I know some actors say that they get very self-conscious watching themselves on screen especially if they have to cry in the scenes, they don't like the way their face contorts, but I have no such issues.
The reason I became an actress is because I wanted my acting to reflect life as it is. I want to put truth on the screen. I want real women to see real women on the screen.
The fact that I'd never really seen myself on screen allowed for a blissful ignorance. It didn't feel like a movie. I didn't have that self-consciousness. It was a game that I was playing.
Acting's incredibly enjoyable, but sometimes it doesn't feel quite enough. I've also written a script about the life of Eleanor of Aquitaine. This will make me sound like a female Kenneth Branagh, but I can't think of anything nicer than directing myself from a script I wrote.
Stop trying to figure it out. I love puzzles, but when I'm done putting together a puzzle, I feel accomplished, and then I wonder, "What's next?" Then I go start another puzzle. Life is a puzzle that I feel like we'll never fully put together. And I like that because, ultimately, I don't want to have life figured out and then wonder, "What's next?" That seems scary to me.
I didn't even know what acting was at 11 years old. I truly believed that acting was hidden cameras everywhere. And I felt that these actors on the screen were somehow real people.
Although we're acting, and our minds know that we're acting, our bodies don't quite know that we're acting. So even when you're watching someone acting like they're dying, your body has like a true real response to it.
I'll be more interested in acting only when it has to do something with who I am in real life. More like playing a singer or musician on screen like in 'Aashiqui' or 'Rockstar.'
I would have liked to catch hold of sleep at least once, just as I had been resolved to catch hold of death one day, to catch hold of the wings of the angel of sleep when it came for me, to grab it with two fingers like a butterfly after sneaking up on it from behind. [...] My sleep game was practice for the grand struggle with death.
When I was auditioning for Divergent, I was kind of in the dumps. I wasn't really happy with acting, and I didn't know if I wanted to do it anymore. I went on a bunch of auditions and nothing worked out. Then they said, "Hey, you got a callback for this thing, Divergent." Because I was in such a weird place in my life, I didn't look up what it was about, didn't look up the director, didn't look up that Shai Woodley was a part of it. I read the script, obviously, but I closed myself off from anything else.
'Unforgiven' is probably an example of a script that I liked right away but thought, 'This is great, but I'd like to do this when I'm older.' So I stuck it in the drawer for ten years and then took it out.
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