A Quote by Lance Reddick
In drama school, my greatest strength was my range. So my early career was like that: I played all kinds of different characters.
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It's funny, because in drama school, my greatest strength was my range. So my early career was like that: I played all kinds of different characters.
I've played a baseball player a few times, but in my career I've been blessed to have played a wide range of characters.
My fear of drama school is that the natural extraordinary but eccentric talent sometimes can't find its place in a drama school. And often that's the greatest talent. And it very much depends on the drama school and how it's run and the teachers. It's a different thing here in America as well because so many of your great actors go to class, which is sort of we don't do in England.
I feel like a lot of my past career was going to film school, making a lot of different kinds of movies. I made a bunch of comedies, I made one drama and I made a couple musicals.
Like any actor, I want to be able to have a long career and show different characters and a range.
The career I chose was a drama major in college, at Yale, when I played a 90-year-old woman. One of my most celebrated roles. Then I played a really fat person. I played a lot of different things. That's how I thought I loved to wrangle my talent, my need to express myself. I like to do it that way.
Drama school was the first place I learned that looks can affect your career. It was very horrible at the time. I had a lot of very bad experiences at drama school because of that, from the teachers and the students. In the end, I think it was good for me because it hardened me to the realities of the business early on.
As for my voice, it cannot be categorized-and I like it that way, because I sing things that would be considered in the dramatic, mezzo or spinto range. I like so many different kinds of music that I've never allowed myself the limitations of one particular range.
Certainly, I look for different characters 'cause I always like to keep people guessing, and I also don't like to get typecast. I made a concerted effort, last year and this year, to get a range of characters, just to show people the range that I have, and for them to be able to see the artistry beyond the color.
I felt quite confident - when you come out of drama school you feel like you're on top of everything. I always tell people to go to drama school even if they've already done movies or whatever because the way you encounter content is so different.
It doesn't seem to me that this fantastically marvelous universe, this tremendous range of time and space and different kinds of animals, and all the different planets, and all these atoms with all their motions, and so on, all this complicated thing can merely be a stage so that God can watch human beings struggle for good and evil - which is the view that religion has. The stage is too big for the drama.
I used to dye my hair different colors and have crazy periods, especially early in my career when I played in Italy.
There's so many different people that I'm fascinated by. Different kinds of characters that I meet in, like, everyday life, that I'm like, 'I don't know how you exist. Like, you're so fascinating.'
What is more important today for the audience is to have different kinds of content. They like variety, they like different kinds of stories, different kinds of entertainment.
I went to NYU drama school, so I was a very serious actress. I used to do monologues with a Southern accent, and I was really into drama and drama school. And then, in my last year of drama school, I did a comedy show, and the show became a big hit on campus.
I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.
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