A Quote by Kristin Scott Thomas
I know people think that I always play these characters who are in control and can chop someone's head off with a look.
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I dont know," said Simon, "it doesn't sound so bad to me. I'd rather have someone mess around inside my head than chop it off." "Then you're a bigger idiot than you look.
In terms of the characters I think are really fun to play, a lot of times it's someone in my head saying 'I know that woman.'
I can't - I'll chop off my own foot!" "If you're going to chop off anyone's foot, chop off Benedict's," Will muttered.
People say I talk slowly. I talk in a way sometimes called laconic. The phone rings, I answer, and people ask if they've woken me up. I lose my way in the middle of sentences, leaving people hanging for minutes. I have no control over it. I'll be talking, and will be interested in what I'm saying, but then someone-I'm convinced this what happens-someone-and I wish I knew who, because I would have words for this person-for a short time, borrows my head. Like a battery is borrowed from a calculator to power a remote control, someone, always, is borrowing my head.
Sometimes you look at me and it's like all the bullshit gets stripped off and I'm left with what's underneath and I kind of like what I see. Someone who actually fails. Someone who has absolutely no self-control. Someone who says real dickhead things like 'this is complicated.' I like that part of me, you know. I like the fact that I know I can't control you or how I feel about you and that doesn't freak me out.
Any time you stick your neck out in high school, there's someone right there to chop your head off.
I look at characters to see if they have some contrasts to play with; I think that's always what I'm looking for in characters: ones that have a wide range of expression.
I'm a very visual thinker, so the characters are running through my head, doing what they're doing when I'm writing them. And there'll be moments where I'll just kind of throw a look off to the side as if I'm talking to one of the characters. It's always been something that I've had with me since I was a little kid.
I always say I write my own novels and the characters don't take control of me, but in fact, I look at the characters in the early stages and I think, 'What is he or she like,' and they slowly come together and they become the person they are.
Do you speak Chopnese huh? Do ya? Chop chop chop chop chop. Aha you don't.
When I leave the theater I can always hear people talking about the character, and everyone always says, "You know, I know someone like her." And I always think, Everyone knows someone like the characters; nobody is like the character. Nobody wants to admit that they are a little bit like that.
Even while I'm really interested in playing female characters that are varied and interesting and dynamic, I'm not of the mind that you always want to play strong female characters. I think I just want to play characters that are interesting, and not all people are 'strong.'
It's a real stumper to sit around and try to think in your own head, but when you go into somebody else's head that takes the foot off the breaks. You can think in someone else's head.
I know I can play, but people who haven't seen me and look at me on a football pitch think, 'He's tall, and he's there to head the ball.'
I think Danny Boyle's got it in his head that we all still look too young (to do a 'Trainspotting' sequel.) But, I mean, I don't look like anyone I play, anyways, so I don't really know where that comes from. Because, you know, you change yourself for the roles. I'm actually not Scottish, either!
If you look at the rest of my stuff, I always play characters that kind of don't look like me, 'cause I love transforming into someone else. I love being able to act, work and act, and then doing it under the radar.
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