A Quote by Joseph Gordon-Levitt
The truth is, an actor's performance is the result of work by a lot more people than just the actor. When you see that character portrayed up on screen, there is the work certainly of the actor, but there's the work of the editor, there's the work of what the camera was doing. What the music was doing, all of the above.
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Certainly as an actor, half of your work is not going to end up on the screen anyway, because in the editorial process, they need to cut to the other actor in the scene. Very often, your best work ends up on the cutting room floor, because it just doesn't work with the overall narrative drive of the story.
People call me a theater actor, but I'm just an actor. But I tell my friends all the time - especially a lot that do theater and haven't done a lot of TV/film - that you have so much more control over your work onstage. When you go onstage, you can really see the difference between people who can really do it, and people who are just kind of pretending to do it. There is no editor, there's nothing that's going to stop the actor from showing what they can do unless it's not a well-written role.
There's no director or actor that I want to work with more than anyone else, other then maybe Johnny Depp, who I really would love to work with. I don't view any directors or actors above regular people, so I'm just happy to work with anyone, as long as they have talent.
I'm an actor. It's what I do. It's what I chose to do with my life when I was a little boy, and that's what Im still doing. I like to work. I came up with a work ethic, and that's just what I do.
It's incumbent upon a director, if you want to pull the best performance out of an actor, you have to really work to who they are and how they work and not just expect them to hit a mark every time. You have to be very adaptable in the approach that you use with every different actor.
My goal as an actor, as an up-and-coming actor in this business is to stay consistent with the work, you know, and if you do good work, and stay focused on the work, writers and directors will pay attention.
When you don't get a certain quality of work, you end up doing lesser quality of work because there's no work. I'm a professional actor, I have bills to pay so I end up taking work which ideally I wouldn't have.
I feel more at home in London than in Los Angeles, definitely. If I could have my choice, I certainly would live in London as opposed to LA. I just prefer it here. But I love the work and in LA there's just so much more of it, and as an actor you kind of have to go where the work is. Luckily, I've been able to get the work out there. If work brings me back here, and a project is here and I can do it, I'll jump at the chance.
What I do is to collaborate with each actor and work one-on-one to create a character. And that is a matter of huge complexity and is a combination of a great deal of discussion and a lot of practical work. It involves a lot of consideration for the real people out there, and all kinds of sources of real people. The result is the character. But I'm not supposed to talk about what it is we do, because it's nobody's business.
I have to say from an actor's perspective, to work with a director who has been an actor through most of their career is a pleasure. They generally have a very deep understanding of the process of what you're doing, of how you are building and exploring the character.
Well, an actor is an actor is actor, to paraphrase someone or other and the opportunity to work, to have a steady engagement, certainly seemed like an appealing concept to me.
Fifteen years before I became a screen actor, I was in the theatre. A lot of my work was comedy, which I loved doing. It's harder.
I don't know the definition of a star; I am just an actor. I prefer doing hard work, as I feel luck can't do much in absence of hard work. I am a lazy person - when I entered into this industry, I thought it was a cakewalk, but I have realised it needs a lot of patience and hard work.
It's so much easier to write for an actor than for an imaginary character and then try to fit that character to an actor. It doesn't work very often in my experience.
The only way to be an actor is to find ways to work as an actor, even if that means doing a one-man show by a river.
Some actors come to casting and ask me, "Didn't you see my previous roles?" We do not work with actors like this. Their previous roles do not matter; I need the actual work with an actor in this particular character that has been written in our script. What matters is flexibility, believability and efficiency of an actor.
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