A Quote by Hugo Weaving
As an actor, to play someone who's at war with himself, that's so interesting.
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When people say 'Lysistrata' has always been seen as an anti-war play, what's interesting is to not make it an anti-war play, because I actually think there are important times to go to war in this world. That's just the reality. But what's interesting is the not caring.
In fact, it is more interesting to play someone whose politics is not in sync with my own politics because then I have to understand a different kind of mind and that becomes more interesting as an actor.
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 it's every actor's dream to play a character that's really odd, and you know no one wants to play himself.
As an actor, you can't play a flashback; you can't play someone's memory. You just have to play each circumstance as if it was real and understand that person's point of view.
My face lends itself to austere characters, and unless they're two-dimensional, I will do them. Any actor will tell you that an interesting villain is much more interesting to play.
My job is that of an actor. As long as I get to act, get some interesting parts to play, get to be a part of interesting stories, I would certainly want to do it.
Want to play some Battleship?” I wasn’t leaving him alone with that thing in there. Chad armed himself with a notebook, and we went to war. Historically, war has often been used as a distraction for problems at home.
As an actor, the ambition is to play interesting characters. And in the indie genre world, the budgets are low. That allows me, as an actor, not to have a financial value behind my name, to justify me being in these bigger parts for these types of movies.
That straight man character is a short trip between comedy and drama in a project, so I can play the comedic beat on the same page as a dramatic beat. It gives me a lot of freedom as an actor to play scenes in multiple ways because I don't play the clown, nor do I play someone who is particularly maudlin.
As an actor, my job is not to always play characters who make everybody happy. That's not interesting.
The more pressure that an actor puts on himself, the harder it is to deliver behavior that's interesting, and so I just try to find a way without talking too much.
None of the actor methods ever discussed what it would be like to play a character on film for over a decade, and what it must be like to return to a character and imagine the time off-screen, which is interesting. There's something as an actor that I enjoy about evolving characters.
It's like those eerie stories nurses tell,
Of how some actor on a stage played Death,
With pasteboard crown, sham orb and tinselled dart,
And called himself the monarch of the world;
Then, going in the tire-room afterward,
Because the play was done, to shift himself,
Got touched upon the sleeve familiarly,
The moment he had shut the closet door,
By Death himself. Thus God might touch a Pope
At unawares, ask what his baubles mean,
And whose part he presumed to play just now.
Best be yourself, imperial, plain and true!
I recognize my physical limitations, but I am an actor who is able to transform himself into someone else.
There's a million and one things an actor can do with a villain. He can go for all kinds of quirks and tricks. The hero is much harder to define for an actor. When you play a straight role or a hero, you're kind of stuck, It's much more difficult to give a good guy interesting qualities or to make him unusual.
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