A Quote by Juliette Lewis
I normally don't concern myself with, 'Will audiences like me or like my character?'
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I don't see myself only as a Somali character. I think of myself as an actor, and if the job fits me and I like the story, I will go for it.
I dont see myself only as a Somali character. I think of myself as an actor, and if the job fits me and I like the story, I will go for it.
I don't start a song with an idea of what ingredients are going to go into a song. It's not like a recipe. I will normally either talk from personal experience or I'll make a character and then try to allow that character to behave the way he or she naturally would.
I personally feel like people shouldn't have to come out. That, to me, was like a moment for myself where I was coming out to myself with, like, 'Okay, I can be the artist that I want to be, and as long as the music is good, people will accept me. It doesn't matter who I am, what I look like. If the music is good, they will like me. The end.'
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 believe in method acting. Whenever I'm working on a character, I start behaving like him. I start doing these things which the character would normally do. Maybe that's the way I function as an actor, and I believe in it. And that's how I try and portray a character.
For me acting, comes straight from the heart. In that sense I don't act at all. I think that to feel the character's pain I have to be myself. Somewhere audiences see that.
For me, acting comes straight from the heart. In that sense I don't act at all. I think that to feel the character's pain I have to be myself. Somewhere audiences see that.
My first customer is myself. When I tell a story I like, I can sleep easy. I'm sorry when audiences don't like it, but I have no choice.
My intention is always to honor the character that Lev [Grossman] created in the books and my greatest concern, honestly, is that the fans of the books will embrace me as this character that they've imagined in their heads.
I can't not have something attached to like what actually happens in real life. Like I can't do a romantic comedy without there being something where like, in the case of Annie Hathaway's character, her character ends up having Parkinson's, you know? To me, I feel like that's love, you know? Like to me. So every movie has to have that kind of sense of that.
Becoming the character you are playing might work for some, but for me, it doesn't. I always maintain a gap between myself and my character because if I will go so deep into it, it will get difficult for me to come back. You should work towards understanding the psyche of your character and then play it.
There were [in Wilson] a lot of clues in it that you don't normally get, you know, normally you use your imagination or whatever, you get some clues in the script, of course, but yeah, it was really helpful, and I really like the graphic novel. There's stuff in there, there's a couple things in there I really wanted to use that they couldn't get in the movie, but it's definitely, he's a unique guy, you know, I never read a character like this before.
Normally I am not so violent. Everything comes from the question: Where will I die? It is a strong concern.
London audiences are tricky, too. They don't laugh as much as the Northern audiences because, and I hate to say this, they are a bit cleverer normally, and they are picking up on all the little details and listening more carefully.
I wasn't being critical of myself in the way I can normally be, and I was letting myself follow through with stuff. It was like a prolonged spontaneity.
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