A Quote by Lesley Sharp
What actors are involved in is a similar sort of psychological forensic examination of the characters they're playing. You try to have an idea about why somebody does what they do and you try not to be in judgmental about it. That is what psychologists and psychotherapists aim to do with their patients.
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I think the idea is to try and understand everything about the characters and where the character is coming from, from their point of view, why they say what they do. And not, 'Oh, but I would never say that. Why does the character say that?' But then making it as personal as possible.
I've been on this kick reading about the beginning of forensic science: autopsies, fingerprinting, psychological profiling. I've been reading a lot of books about forensic anthropology.
When I shoot, I try to feel the body and the face and the weight of the actor, because the character until that moment is only in the pages of the script. And very often, I pull from the life of my actors. I'm always curious about what these characters and these actors are hiding about their lives.
Somebody insults you and you feel anger. Don't miss this opportunity; try to understand why, why this anger. And don't make it a philosophical thing. Don't go to the library to consult about anger. Anger is happening to you -- it is an experience, a live experience. Focus your whole attention on it and try to understand why it is happening to you. It is not a philosophical problem. No Freud is to be consulted about it. There is no need! It is just foolish to consult somebody else while anger is happening to you. You can touch it. You can taste it. You will be burned by it.
I suppose everybody does get attached to characters whether in movies or in stories, but I think that's part of the reason you get involved with literature is because there's somebody that grabs you about it and then you want to figure out why.
There is something about the creative process... which is that you can't talk about it. You try to think of anecdotes about it, and you try to explain, but you're never really saying what happened... it's a sort of happy accident.
I've played characters who are dark and have done things I never have experienced, which is why I try to find the reasons why they do what they do. We're all people, and go through similar emotions.
Let's think beyond the normal stuff and have an environment where that sort of thinking is encouraged and rewarded and where it's okay to fail as well. Because when you try new things, you try this idea, that idea... well a large number of them are not gonna work, and that has to be okay. If every time somebody comes up with an idea it has to be successful, you're not gonna get people coming up with ideas.
One of the great lessons I learned about historical fiction from writing 'Loving Frank' is that you don't try to disguise what people did; my approach was to try to understand the characters and why they did what they did.
I might tell a story about somebody else, but I don't sit there and do a story about somebody snitching on me selling coke because people know I didn't sell coke. So I just try to keep it real but still try to do it in a creative way.
My idea was that if I loved to sing, I would just do it anywhere I could, and always go out and always try to learn and try to perform, and try to find opportunities. Little by little, I sort of built upon that idea.
I try to leave a light footprint. I'm involved with Global Green, which aims to educate people about sustainable building and the greening of schools. I try to be aware about the consumption of unnecessary things in a consumptive culture.
I don't want to know about the lives of other actors and I don't want people to know too much about me. If we don't know about the private lives of other actors, that leaves us as clean slates when it comes to playing characters. That's the point, they can create these other characters and I can believe them.
There's so much of, it could have been a very critical examination of what happened, and really the emotional lives of the people involved sort of carry the characters forward.
As the director, I try to go in and know as much as I can about the material. I really try to go in and understand what all the characters are about, what the movie's going to look like.
I try to represent specific experiences of specific characters, and that's all I want to try to do. I don't ever try to think about representing a culture, because its impossible, and someone will fault you. And it just doesn't interest me.
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