A Quote by Joel Edgerton
I always kind of aim with the action stuff to make it feel like, as an audience member, you're experiencing what the people are experiencing. As soon as you go into slow-mo or repeated edits, shooting it like it's a stunt, it takes it out of that reality. The more real you make that stuff, the more tense it will be.
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Whenever you're playing somebody who is, by all accounts, rotten, don't focus on the rotten stuff. That stuff will take care of itself. It's already in the script; the audience is already experiencing it without you having to add an extra feel of evil. Just play them like regular people.
We're charlatans in a way, we're magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style, I did it in Looking for Richard, too. And I figure, if I can weave it into the actual play and get the audience interested, like the robes going up and down, they'll pay attention long enough to consume it.
I don't ever want to do a movie where you shoot it on a motion capture stage. I just don't like taking the reality out of it. I like being on the set in real environments. I don't like shooting on green screen. I think it gives the actors so much more to play with when there's real stuff happening on the set.
Actually, time and time again people always come back to my early, more innocent stuff, and say, "I kind of prefer that." I could go back to writing that and probably make more people happy, but it just doesn't feel like the right thing to do. I don't want to take the lazy route.
I could have a one-night stand, and I'm the kind of girl who looks over in the morning and is like, Do you really have to be here? I don't need to cuddle and do all that stuff because I know what it is and I don't try to make it more. I feel like a lot of women try to make it into more, so they don't feel so bad about just wanting to have sex.
It takes intelligence to make real comedy, and it takes a reality base to create all that little stuff I like to do that makes you giggle inside.
Teenagers are very dark, I think. That's all the goth and emo stuff. They're experiencing a lot of stuff that adults experience, but in a much more raw way. It's that extremity that I'm interested in, to be able to go down so far and come up so quickly.
I always like to break out and address the audience. In 'The History Boys', for instance, without any ado, the boys will suddenly turn and talk to the audience and then go back into the action. I find it more adventurous doing it in prose than on the stage, but I like being able to make the reader suddenly sit up.
Modeling is basically 'Buy more stuff! Don't you want some more stuff? It will make you look ten years younger and men will like you!' If I'd wanted to be a salesperson, I would have got a job selling.
I just like stuff that's raw, itself, real and genuine. I think that's the way art should be. That's the kind of stuff that people can connect to more.
So much of the time I'm cast as an asshole or a douchebag, or that kind of thing. I'd like to go back to just playing a guy with a good heart. Usually so much of my stuff is ulterior motives or a dark thing to it. Maybe that's what other people see in me, but I feel like I have a warm side, too, humor and fun. I'd like to play a little bit more of that. Feel-good stuff. Why not?
I'm not recommending that you think positive thoughts. It's more about experiencing more emotions and feelings that make you feel more connected with the world.
I think when you do stuff in a computer people tend to dismiss it. It also allows you to make a lot of stuff totally not connected with reality because you're not limited by any kind of reality.
Creative work is more accurately a machine that digs down and finds stuff, emotional stuff that will someday be raw material that can be used to produce more stuff, stuff like itself - clay to be available for future use.
Hip-hop is just bombarded with a lot of materialistic stuff. When a group like us with more creativity comes out, I think it will make some kind of change.
My dream was always to have an experience where an audience member would turn to another audience member, a stranger, and be like, 'What did we just go through?' And, like, kind of begin to talk.
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