A Quote by Marion Cotillard
When a script moves me, I find that I immediately understand a character. Of course not completely, but I do understand.
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The criteria [to take or refuse the role] is that I would love to have some kind of dialogue or communication with the director. I need to understand that we can communicate and that we like communication. That's something I have to have a strong feeling about. Secondly, I have to find the script intriguing or interesting. I don't have to understand the whole script, but I do have to find it intriguing. If those two things are present, that would probably be a yes.
Whatever character you're playing you have to complete the entire interior infrastructure, whatever it is - but what gets divulged or what people completely understand depends on the script and what you decide to show. But you have to know it.
When you rehearse a play, you spend four weeks with one goal in mind - to wean the actor away from you. You want the actor to become completely independent and to understand all the emotional and psychological moves within the character.
That is what it is like with Pep. At first, you don't understand. But then you grow up, you work, and now we understand the things he wants much better. It's not like the first season when it took him more time to make us understand his ideas. Some players didn't understand immediately what he wanted.
All I care is that my family, and my loved ones, understand me. Or that they understand me to a degree - I don't understand me very much. And I don't need the world to understand me. That is the most egocentric thing.
The black experience, which has nothing to do with my play 'Angels in America,' allowed me to understand the Mormon character. He was the character that couldn't come out to his mother. It allowed me to understand emotional and closeted behavior, because you're so acutely aware of how you're perceived.
You have to have a character; you have to build your character. If you understand the pro wrestling scheme of things, then you understand what the promoting is. These guys are friendly backstage, but as soon as the cameras turn on, it's a whole different story: you become that character.
Sometimes you don't really understand the characters you do. I don't need to. Most of the behavior is obscure and I don't mind that. On the contrary, it's a fuel for me, to find out who the character is. As the spectator is finding out, I find out about the character myself.
It surprises me every day that this (Eddie Haskell) character is still so popular. I don't completely understand it but it's nice.
And I tell ya, when I sit in that sound booth and started reading the script and starting to get into the character, man, it's an easy jump for me, because I understand what it's all about.
You know, I used to not understand fashion, a lot of it, but I completely understood being a playwright or a screenwriter and suddenly having an actor say your words and making them come to life. That I can understand. Finally, I'm starting to understand this.
Because as an actor, I really feel you cannot judge a character. You have to totally commit to that character. And for me to totally commit to the character, I have to find those places where I understand the sequence of behavior.
When I read a script I either immediately identify with the character or I don't. If I find myself reading the part in my own voice I think 'This is a bit of a drag, isn't it?' and it's no good.
I'm taken by a story and a character. I'll read a script, and if it touches me and moves me and makes waves, that's why I'll choose it.
Poetry helps me understand who I am. It helps me understand the world around me. But above all, what poetry has taught me is the fact that I need to embrace mystery in order to be completely human.
In the years afterward, I fled whenever somebody began to understand me. That has subsided. But one thing remained: I don't want anybody to understand me completely. I want to go through life unknown. The blindness of others is my safety and my freedom.
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