A Quote by Harrison Ford
I don't take trouble at all to conform a screenplay to my iconography. I don't say, "We can't do that - the audience wouldn't accept it." I try to take the limitations of what is required to play a leading character and then screw with them.
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And, for any performer, to be able to go deep into character is fantastic. In film you only get to do that if you're the leading character. But in television you get 18 hours to really test the audience and take them to the edge of how far they will go with this character. I can step over this line and I love that.
There comes a point when you've exhausted your opportunities playing good guys. I've been around long enough, I think I'm entitled to explore a bit. But what I saw there was an opportunity to play a character different from what the audience's expectation was. A chance to take their crude experience of me - of my iconography, if you will - and turn it on its ear at an appropriate juncture in the film to be useful to the process of telling the story.
When we approached the project, the very first thing we did was take each character and say, "Okay, where would this character be?" We didn't want them to be caricatures of themselves. We wanted them to live and breathe, and grow with the audience and with us.
I say I'm a rebel. I'm continually fighting against [sexism]. I don't take parts because they're for the sexy girl. I take the sexy girl parts and try to give them something else and make them a character.
You cannot say 'no' to the people you love, not often. That's the secret. And then when you do, it has to sound like a 'yes'. Or you have to make them say 'no.' You have to take time and trouble.
I'd have wasted a lot of time and trouble before I learned that the best way to take all people, black or white, is to take them for what they think they are, then leave them alone.
If you accept limitations then, yeah, you'll be limited. If you don't accept limitations then the horizon is pretty vast.
What I do is give Ennio Morricone suggestions and describe to him my characters, and then, quite often, he'll possibly write five themes for one character. And five themes for another. And then I'll take one piece of one of them and put it with a piece of another one for that character or take another theme from another character and move it into this character.... And when I have my characters finally dressed, then he composes.
I take them seriously but I try not to read them. I take them personally, that's why I don't read them. I think people are lying when they say they don't care, that's not true. I take them personally.
Every person I talk to has a story about how their smoke alarm went off or woke them up with a battery beeping. So you take it off the wall and you take the battery out and say screw this. They hate the products.
Every person I talk to has a story about how their smoke alarm went off or woke them up with a battery beeping. So you take it off the wall and you take the battery out and say 'screw this.' They hate the products.
Say Say Say What you want But don't play games With my affection Take take take What you need But don't leave me With no direction
In some ways, what I learned is that you can take a character and breathe with them, and it's up to the audience to interpret rather than you putting moral stamp on the character.
In some ways, what I learned is that you can take a character and breathe with them, and its up to the audience to interpret rather than you putting moral stamp on the character.
I become my characters, and then try to allow events in the story to take their own course. I try not to play God, but to let them work out their own destiny.
I always wanted to be normal. I tried really hard, but it's like I try so hard and then people still say I'm offbeat. I've learnt to accept that and take advantage of it as an actor.
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