A Quote by Kim Fields
I recognize that every role I play, I'm not going to play someone that has a ministry or that is a Christian, and I don't think that's what God has called me to do. The gift and talent that He's given me as an actor, director, producer is to entertain, sometimes to inform, most times to inspire.
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Every director is always directing around the play. If you have an actor who really doesn't get the character well enough, you have to direct the play around that character. You have to make choices with that actor. If you have an actor that really doesn't get the role and has certain visions of the role, sometimes you have to direct around that actor.
A play called 'Bichchu' with Om Puri in the main role was going to be staged and I was working backstage. An actor failed to turn up for rehearsals and the director asked me to do that role instead. I agreed and would go to the beach to rehearse my dialogues as I had no place to stay those days.
An actor should be ready to play any role within reason. For example, I think the most ridiculous thing for me to do would be to try and play Shakespeare.
I feel very fortunate for audiences to have been so gracious as to allow me to do pretty much any role that I felt I could do. They let me play a president. They let me play a lawyer. They let me play a hit man. They let me play a father. They let me play Howard Saint.
There are certain times in a concert when I'll call an audible because I feel like God is calling me to play a different song. But truthfully, I feel called to play for the church whether it's song being played on Christian radio or it's concerts I'm doing primarily in churches.
There's a play that Chekhov wrote called 'Uncle Vanya,' and I when I was in school, I played Sonya, and sometimes people ask me if there was ever a role I could play again, that's definitely the role I would play again: Sonya in 'Uncle Vanya.'
But the fact I'm even getting to play a character that the producer, director and writers want me to play is a rarity in the industry. You'd think it happens all the time. It doesn't. There are so many hoops to jump through to get cast in something.
It has come to be a dreadfully common belief in the Christian Church that the only man who has a “call” is the man who devotes all his time to what is called “the ministry,” whereas all Christian service is ministry, and every Christian has a call to some kind of ministry or another.
I think the most important thing for an actor is reading the script and trying to figure out if you can play that character well. The last thing on my mind is if the director made good movies previously. It's not my job to know if that director's last movie was any good - it's my job to know if I can play the role.
[on playing Walter] It was wonderful to be able to play a character who had so many colors and who was able to play comedy, to play incredibly vulnerable, which he did a lot of the time, to play the love story, and to play the relationship with the son, which is quite unusual. That's a gift to me, as an actor. It was like everything you could possibly hope for, over five years. So, I was a very lucky actor.
It was wonderful to be able to play a character who had so many colors and who was able to play comedy, to play incredibly vulnerable, which he did a lot of the time, to play the love story, and to play the relationship with the son, which is quite unusual. That's a gift to me, as an actor.
It was an audition process after Breakfast Club, and I wasn't really sure I wanted to do the movie. There was a bigger role that Rob [Lowe] was already set to play, so the role they wanted me to audition for was Alec. [Director] Joel Schumacher... this is back in the days when you could trick me with things like this. He goes, "Don't you think you can play it?" And I go, "Okaaaaay." So then I did it for all the wrong reasons but I don't think I would fall for that again. Who knows. I might.
Well as an actor I think i try to do my best and play the characters that inspire me and challenge me.
A lot of times I say to myself, "I wished I could be worthy of all the compliments that people give me sometimes." I'm not inventing anything that's going to stop cancer or muscular dystrophy or anything, but I like to feel that my time and talent is always there for the people that need it. When someone do say something negative, most times I think about it, but it don't bother me that much.
The giving and receiving is the tricky thing. It's not the gift. It's what the heart says in giving the gift, and from my point of view, one doesn't give or receive - that's a role we have to play. But the gift - it's God's gift. I think that it's better to be souls than roles.
Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.
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