A Quote by Kaitlyn Dever
I'm not really a Method actor. I'm always afraid of working with someone who's afraid to [break character] and won't talk to anyone because they're in character.
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We're just afraid, period. Our fear is free-floating. We're afraid this isn't the right relationship or we're afraid it is. We're afraid they won't like us or we're afraid they will. We're afraid of failure or we're afraid of success. We're afraid of dying young or we're afraid of growing old. We're more afraid of life than we are of death.
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.
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.
There's always fear. There's always fear. Always fear. Anyone who says they are not afraid is lying to you. Because this can all change tomorrow. I could say something dumb today and be in the news for it tomorrow. And maybe the phone stops ringing. You're always afraid of losing what you have. Regardless of success or anything, you're always afraid.
There should always be that leeway because if you think of your character as sort of absolutely fixed, then you just try and find actors to come and do exactly that thing, then you're not gonna be working with that actor's own set of internal impulses and who they are, so the best work is always a coming together of the actor and the character.
I definitely consider myself a Method actor, because of my training. I might dispute what people consider a Method actor to be. For my money, a Method actor is an actor who has a technique. That has a method. And not one method, but whatever might be required. So a Method actor is always learning.
There was always a minority afraid of something, and a great majority afraid of the dark, afraid of the future, afraid of the past, afraid of the present, afraid of themselves and shadows of themselves
Working with animals forces an actor to work harder because you have to be quick when it comes to improvisation, and you can't break character - at all.
Why can't women get along? Because we're afraid. We're afraid to be vulnerable. We're afraid to be soft. We're afraid to be hurt. But most of all, we're afraid of our power. So we become controlling and aggressive and vicious.
I'm always afraid to talk about stuff because I'm afraid to get ahead of myself or jinx something.
51st State was one that I loved doing because the character was so out there, and in a way I was sad to leave the character behind. I'm afraid I could never be that cool in real life!
The first night was awful because I was so afraid, and I was never more afraid because it was going out of my character to be outgoing and to be vulnerable and to be out there and onstage. My hands were sweaty and I couldn't swallow, and I drank a bottle of wine to calm my nerves.
I was still afraid of him, I knew, but in a different way - I was no longer a child, afraid of the threat my terrifying father posed to my safety. I was a man, afraid of the threat he posed to my character, to my future, to my identity.
Not every character that you play is going to be somebody that you like or love, but every character that you play has a story that is worth telling. If you're not the person to tell it, that's one thing. But if you don't want to tell it because you are afraid of the unpopularity of the character, I view that as a missed opportunity.
I really admire actors who have time, because time is really the greatest luxury for an actor to live with a character, to develop a walk and a talk, or to listen to tape if you're playing a real character. But without time you're really just forced to make quick choices and move on and hope that the spaghetti sticks against the wall.
I'm not afraid to live. I'm not afraid to fail. I'm not afraid to succeed. I'm not afraid to fall in love. I'm not afraid to be alone. I'm just afraid I might have to stop talking about myself for five minutes.
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