A Quote by Lesley Ann Warren
I know that some people work differently, but I have to work from the inside out. It doesn't matter how big the character is, there has to be a truthful core.
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I love being uncomfortable. I love feeling very revealed. And when I watch a piece of work that I've done, I'm actually looking for that. How naked is this character? How truthful is this character? If it's truthful, there's automatically a separation.
As an actor, when you want to capture the spirit of the character, and the character exists in all of the iterations slightly differently, you work towards getting a sense of what the creators wanted to do, you know? Then, you work off of that.
A work of art does not need an explanation. The work has to speak for itself. The work may be subject to many interpretations, but only one was in the mind of the artist. Some artists say to make the work readable for the public is an artist’s responsibility, but I don’t agree with that. The only responsibility to be absolutely truthful to the self. My work disturbs people and nobody wants to be disturbed They are not fully aware of the effect my work has on them, but they know it is disturbing.
I work really out of mythology, so often I work out of a story that has remained lodged inside somehow, or I work out of history, you know, out of a sense of historical inevitability with characters.
It doesn't matter how many sit-ups you do, your work ethic. I know when I land that punch, and I'm on balance, they're going to feel it regardless of how strong their core is.
The trouble with the jokes is that once they're written, I know how they're supposed to work, and all I can do is not hit them. I'm more comfortable improvising. If I have just two or three ideas and I know how the character feels, what the character wants, everything in between is like trapeze work.
What I do is to collaborate with each actor and work one-on-one to create a character. And that is a matter of huge complexity and is a combination of a great deal of discussion and a lot of practical work. It involves a lot of consideration for the real people out there, and all kinds of sources of real people. The result is the character. But I'm not supposed to talk about what it is we do, because it's nobody's business.
In the morning, I work on my core stability and do some work with the exercise bands. Sometimes I do some upper body and a little bit of leg weights to get warm and ready for training. And then I'm out on the pitch.
Work begets work. Just work. If you work, people will find out about you and want to work with you if you're good. So work anywhere you can. That's why I've changed my mind about these theatres where people work for free or have to pay money. I think it's kind of terrible that they feel they have to, but you know what? They're working.
No matter how non-technical your life and work, you're going to have to interact with technology and technical people. If you know something about how devices and systems operate, it's a big advantage.
o matter how much research you do, or invention you do, whether it's a character from a novel, a completely invented character or someone who actually existed, it's a work of faction. By the very fact you only have an hour and a half or two hours to tell a story, you're telescoping events and it is, in the end, a work of imagination.
In any 'big science' enterprise, like planetary exploration, where you must work in big teams of similarly driven people, it is important also to know how to work alongside others even when they may be your fiercest competitors.
I think one of the things I was most interested in finding out was how differently we approached our work. And my reality was that we didn't approach it very differently at all, which was funny.
No matter how big the glam squad, or how dramatic the dress, sometimes things just don’t work out.
Sometimes films might not work, but you as an actor should keep working. Because no matter how much you panic about how your film didn't work, eventually, when you step out in the real world, there are people who value you as an artist.
When you're on the inside, there's no other perspective but what you see on the inside. When you're on the outside, you get to look at things a little differently: how you can help, how you can fit in, how you can do certain things differently.
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