A Quote by Harry Connick, Jr.
As a character, you're working within the realm of what's on the [script] page.
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The minute I know it's real to the minute we start shooting, I will work on the script, breaking it down and working on the character, doing as much research as I possibly can to the point where I feel like I eat, sleep and breathe it without looking at a page. Then I go in and try to forget all of it and just be there.
When something arrives, you have no idea what's in it, which is good. And then, it's is the story leaps off the page at you and how your character functions within it. There could be just one scene and if it's wonderful, it doesn't matter how much you're working on it because you just want to be in it. It's really about what your character's day to day world looks like, and if you feel like that's something that's complete, and that you'd like to inhabit for awhile. You'll know by a couple of scenes in. If the character grabs you, you run with it.
I love to see how a character unfolds off the page in a project. I don't always know how the character is going to turn out, even with the script being there. It's not always clear where that character is going to take me. Or where I will take them.
Whether it's a lower or higher budget project, a TV show or a film, the words on the page are the same to me and I approach the work in the same way. My job is to lift the character from the page, whether it's a TV or film script.
This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks.
You can tell if you're going to be into a script within the first five or ten pages - if I'm not completely engaged by page 20, I just have to give up on it.
I try to research or make up for myself what happened in any character's life. From when he was born until the first page of the script. I fill in the blanks.
All actors bring something unexpected to the role because they have to translate what's on the page and make a real character out of the black-and-white text that's there in the script.
I love to be a working actor, and I love to read scripts as they come in. If I find the script or character that is interesting, I want to transform myself into that character.
["I Don't Feel at Home in This World Anymore" ] really jumped off the page. And there were so many specific notes within the context of the script. Music cues, for instance.
If we want to find God, we have to look within, into the realm of deep mind-a realm that science has yet to explore.
On '24,' it says on the front page of your script: 'This script is for the production staff and cast. Please don't show it to anybody else.'
For me, if the words are good on the page, the rest of it comes from spending some time with the script, and not like you're learning lines but absorbing what the script has to offer.
Definitely the script because you want to be part of an interesting story, you want your character to be a challenge, then comes the director. But essentially it's the script first and whether it's a character that you think you can do.
I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.
In 'Tintin,' it's like a live-action role. You're living and breathing and making decisions for that character from page 1 to page 120, the whole emotional arc. In an animated movie, it's a committee decision. There are 50 people creating that character. You're responsible for a small part.
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