A Quote by James Norton
You really try to work the character out and spend time in the headspace of the character. That's what I did.
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I really tried to work out hard to emulate the look and feel of the character, and did my best to represent the great artists that created him. At the same time, as an actor you have to find what you relate to in the character and make it your own, and hopefully people respond to it.
I have a great fondness for any character I work on. Whether it's somebody like Batman or Harley Quinn or whatever character I'm writing, I just really enjoy the heck out of it, and I try to do the best job I can with it.
When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
The more time you spend with any character, whether it's from a comic book universe or a really naturalistic universe, the more time you spend, the more that character just becomes another aspect of yourself.
Gary Ross one of those directors which lets you do what you need to do to become your character - he lets you try to do everything on your own when you're acting. Then at some points he would say, "Let's try this," or "Let's try that." Most of the time he just kind of let me try to just become my character on my own and it worked out really well.
When I find the character, I try to spend time with them and get to know them very well. Therefore my notes are not from the character that I had in my mind before, but are instead based on the people I've met in real life.
I have a gut reaction to stuff that I read. Either it's a filmmaker that I really want to work with, or it's a story that I really want to be a part of and help serve, or there's a character that I feel I can bring something unique to. That's really what it's about. I would go crazy, if I just relied on the same tricks and did the same thing, all the time. It was just be no fun, at all. I really do need to try something different, every time out, and do something that scares me, a little bit.
Stage is so important because it teaches me how to convey character with words - how to convey how a character reacts by the way they appear on stage. I can usually tell a playwright from someone who has never written for the stage. Did the character work? Did the dialogue reveal who the character is?
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
I like to really spend the time and figure it out and rehearsal is to try something that doesn't work. It's hard to do that, because you always want to go with your impulse thought and you wonder if that's the one, did that work, you know?
I don't really try to judge any character that I play, afterwards I figure it out, but while I'm working on the character, I have to find something in them to relate to.
With The Help, I knew folks involved in the project peripherally. I wanted to audition for Hilly Holbrook and part of the initial feedback was: "No, Bryce is too nice." That's part of the reason why I really love auditions as well - you get to try out a character and try out different versions of a character.
It wasn't like this happy-go-lucky experience, shooting Norman movie. It was something I kind of had to, sort of dedicate a certain level of focus and energy to kind of just stay in this headspace that would allow me to access - because it's also a very emotional movie at times. This was the first time I ever played a real character, a fully fleshed out, dimensionalized, multi-faceted character, as opposed to a part. There's not very much opportunity for somebody of my age and my look, so for a character-driven piece like this to come along is a rare thing.
We did so much work developing the character of Kratos, why would we throw all that out? We're sort of treating the first seven games like chapter one of this character's life.
Certain roles, I just won't invest in. I'll go in and audition, but I might not spend five hours trying to figure out what the character is really about or go so deep into it. I might just learn the lines and go in and try my best because I know it's not safe for me to love the character or to fall in love with the idea of the role.
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