A Quote by Jeremy Irvine
Ralph Fiennes was a big hero of mine acting-wise growing up and while I was training. I just find him so watchable. He was playing this very intimidating character when we worked together and it certainly felt like he was in character off set as well! He was very cool. Before a scene, he'd be like, "Come on. Let's improvise. Let's just do stuff." But Jesus Christ. He's Ralph Fiennes!
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I was quite intimidated by Ralph Fiennes. I didn't really talk to him while I was doing Harry Potter and the Goblet of Fire and the only thing I did with him was when he stepped on my head. Then I went to this play and he was there. And this girl said, “you've worked with Ralph Fiennes haven't you, Robert?” and I was like, “well, no...” and Ralph said, “yes, I stepped on your head.” And that was the extent of our conversation.
It was lucky that Ralph [Fiennes] is someone who understands both film and theater and we were able to understand that scene so well before we took it to the set.
I had a really small role (playing goddess Aphrodite), and I was only working for just over a week with Ralph Fiennes and Liam Neeson. I'd done a few short films before and thought acting was really creative, but when I worked with those guys, I was just like: "Wow!" They had such fun and freedom. They were trying things and stretching themselves. It was so inspiring that I was like: "I definitely want to do this!"
I was nervous. I was thinking, 'Gee, he's Ralph Fiennes. What an amazing actor, and I can have this scene with him.' But I enjoyed it, you know. That's what I got into acting to do - to push myself and see if I can do these things.
You can't have the real thing on camera - that's the nature of cinema. When you see people like Daniel Day-Lewis and Ralph Fiennes screaming and hyperventilating, you're seeing the phoniest kind of bad acting. You may as well have a 'men at work' sign. It's not acting if you can see it.
I really enjoyed it - being involved in watching rushes and playback [in "The Invisible Woman"]. Ralph [Fiennes] was very open to my input, I think knowing that he couldn't always be there 100 percent, that he had dual aims with directing and acting.
I think Ralph Fiennes has had a really wonderful career; there's something sort of classic about him. He does a bunch of different projects, but he approaches the work from a very sort of artful way.
Ralph Fiennes and Edward Norton are among my favorite actors.
I'm sure if you dig deep, Joe and Ralph Fiennes do it because they want to be noticed.
Ralph Fiennes was a pivotal influence on me. He asked me, 'So what is it you want to do?' I very shyly, timidly admitted that I wanted to be an actor. He sighed, and he said, 'Lupita, only be an actor if you feel there is nothing else in the world you want to do - only do it if you feel you cannot live without acting.'
It's all very well to go out there and put on an exciting match, while some of my matches are the most exciting out there, but having a character like mine that people can relate with is very important. I feel like that is a good reason why my character has worked.
I've heard people tell me there's never been a gay character like Agron on TV before, and some fans have even thanked me because they now feel like they have a gay action hero, and it's very endearing to hear that kind of stuff. But I just played him the way he was and tried to do right by the character.
I just really like the characte [Jasper Hale], and I love the story [Twiglight], I think it's a very strong character and I respect him. It's interesting; I respect the character that I play. I don't understand it, but I do. That's a good thing. I think so, I think so. I never felt like that before with a character.
One of the most precious parts of acting is the work before you show up on the set, the time you spend being with your character before you bring that character to life. To me, that's the most rewarding part of it all. It feels very good to show up on a set just knowing that's with you.
Very rarely have I worked with a director where we've been at odds. And by the time you've actually talked to somebody and you have the job, there's something that they see in you that they want you to bring to the character. And the best director says very little to you, acting-wise. They usually just say, "Okay, here's the shot." It's their job to do all that stuff, and your job's to do the acting. So it's very rare that somebody will say, "Oh, no. I conceived this very differently".
Improv is more than just spitting out a bunch of funny stuff that's unrelated to the material. You have to stay in character, you have to react and respond as the character you're trying to play. You have to service the story, and I think improv training has helped with my listening, responding, and my audition technique. It's sounds so silly, but it's true. Because not only do you improvise during the audition, but once you get the part, they'll say, "Throw away everything. Just improv this scene. Do whatever you want." Someone could panic if they're not used to doing something like that.
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