A Quote by George Blagden
They have a good ethos at Guildhall in that they basically throw loads of different things at you. Their theory is that after you leave, if you use 10 of those 100 things, that's great. The other 90, you might not agree with or might not work for you as an actor. But if you can find 10 that work for you, then ultimately you leave as a better actor.
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I've found the 90-10 rule to be pretty true: 90 percent of what I come up with and write down is kinda 'eh,' and then somehow, someway, 10 percent of it happens to work out really great in my act.
Why will I leave TV? For me, work is priority. The medium might change, but I, as an actor, don't.
One of the many things I love about working with Ryan Murphy is that you're always thin-sliced in this business. You walk into a room and people want you to be how you look or how you're perceived or whatever it is in that 10 minutes that hey meet you. I think Ryan [Murphy] has an intuition that looks a little bit deeper and sees things that other people might not see in you - sometimes you might not even see in yourself - but that he knows are there and that he might want to get to grow and stretch with as an actor.
I actually work better within restrictions. When you leave everything wide open, things tend to get a little convoluted. So when you give me those restrictions and I start to use my brain creatively to work around those, that's when things get interesting.
At the end of the day, I'm an actor. I'm not here to sell other stuff or use off-screen things to generate whether or not I work. If I'm any good, I'll work; if I'm not, I won't.
If you fail to make a mark, you might not get good work later. So, it is important for every actor to have a plan B to bank on. Here, nothing lasts forever. That's why my husband pushes me to do different things in life.
There are always things that I'd love to do. As an actor, none of them are specific; all I'm looking for are things that are good quality, that are challenging for me to work on, and even better if I get to work with people that I respect and am excited to work with.
It's crazy, it's different. It's what I wanted, but it's different. It's not exactly what I wanted, you know what I mean? If you become an actor you want to be a successful actor; but with success comes a lot of things. Some of it's great! It's great to be able to pay your rent from the work that you do.
I always think about taking 10 random people off the street and trying to pair them. Probably a lot of them are not going to work out, but randomly one might. That's basically what they're doing on 'The Bachelorette.' Here's 25 guys, see if you like one of them and it might work out.
If you work at a 10,000-person company, and you're using e-mail as the primary means of communication, then you probably have access to a couple hundredths of 1 percent of all the communications happening across the company. But if you use Slack, you might have access to 10 or 20 percent.
As a rule, with me an unfinished [idea] is a thing that might as well be rubbed out. It's better, if there's something good in it that I might make use of elsewhere, to leave it at the back of my mind than on paper in a drawer. If I leave it in a drawer it remains the same thing but if it's in the memory it becomes transformed into something else.
I might like to be an actor, but there are loads of other things I'm interested in as well, like music and writing and sports. I want to keep my options open.
I try to enjoy a movie or a television programme just like anybody else. I'd love to be emerged into the story and watch it, but if you work a lot as an actor, in any aspect of the industry, things might arise in a programme that somebody might miss, whereas it might catch your attention.
Work, work, work, but what mark do we leave, what point do we make? People who are too beholden to work become like erasers: as things move forward, they leave in their wake no trace of themselves.
Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.
I think a good painting or a good work of art does many things it wants, I mean, maybe 15 or 20 or 100. One of the things a painting does is to make the room look better. It improves the wall that it's on. Which is much harder than it looks. And that's a good thing. And if one engages with a painting on that level, that's fine, that's great. After some time, familiarity, the other things that a painting does, the other layers, they just start to make themselves felt.
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