A Quote by Maxine Peake
I take bits and pieces from everything. But I think the Method can be very isolating, and sometimes it's more about ego than playing the character truthfully.
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That is again the same story played on a more subtle level. That's what the religious people have been doing down the ages - pious egoists they have been. They have made their ego even more decorated; it has taken the color of religion and holiness. Your ego is better than the ego of a saint; your ego is better, far better - because your ego is very gross, and the gross ego can be understood and dropped more easily than the subtle. The subtle ego goes on playing such games that it is very difficult. One will need absolute awareness to watch it.
I wouldn't say I'm a Method actor, but I do try to focus very deeply on what character I'm playing, and everything else goes out the window. I forget about everything. I try to get everything else out of my head.
Sometimes when you're playing a very intense character, a disturbed character, you find other layers. That's much more interesting to me, rather than just playing 'intense.' I find it too boring.
I think people turn to poetry more often than they think they do, or encounter it in more ways than they think that they do. I think we forget the places that we encounter it, say, in songs or in other little bits and pieces of things that we may have remembered from childhood.
It's very rewarding to see the movie, and it's very rewarding to make the movie, but playing the character [Riddick] is sometimes a lot more difficult than other characters because it takes so much preparation to get into that character.
I take my fun very seriously, whether it's playing the drums or acting in comedy bits. The need to be disciplined about it, and not take it lightly, and not be too casual, is something I take deeply to heart.
Well, I think that in every character there are little bits and pieces of yourself.
I always like to borrow bits and pieces of things. There's a line between jumping on something that's happening and incorporating bits and pieces of it into my work.
What I perceive in science fiction is that it's more about how everything looks than what's going on, which I think is just difficult if you're an action character. I think they are about character, not about what it looks like.
I think all writers are always collecting characters as we go along. Not just characters of course, we're collecting EVERYTHING. Bits and pieces of story. An interesting dynamic between people. A theme. A great character back story. A cool occupation. The look of someone's eyes. A burning ambition. Hundreds of thousands of bits of flotsam and jetsam that we stick in the back of our minds like the shelves full of buttons and ribbons and fabrics and threads and beads in a costumer's shop.
The ego can exist only if you take yourself and everything seriously. Nothing kills the ego like playfulness, like laughter. When you start taking life as fun, the ego has to die, it cannot exist anymore. Ego is illness; it needs an atmosphere of sadness to exist. Seriousness creates the sadness in you. Sadness is a necessary soil for the ego. Hence your saints are so serious, for the simple reason that they are the most egoistic people on the earth. They may be trying to be humble, but they are very proud of their humbleness. They take their humbleness very seriously.
The ego is a very bad quality. Ego sees everything as separate; it sees everything as dual. You must remove this ego and see only the Unity. Think only of Unity; think only of the basis of everything.
You can relax more when you're playing a silly character than when you're playing a really rigid character. But to be fair, I think George Clooney is a bigger teenager than any of the 'Twilight' cast. He's the guy throwing a football at your head and then hiding around the corner, pretending it wasn't him!
I'm not a method actor, I don't write my character's history or all those kinds of things. I'm more about the 90 percent of the brain that is subconscious. I like to just pick certain pieces, let it soak in, and then let it kind of emerge out.
I've directed bits of action and so I know that it's long and it's very detailed. Editing action is a good deal more exciting than shooting action. Shooting action is very, very meticulous, it's increments, tiny little pieces.
You just never set roots; you take pleasure in simple conversations, because you know you're not going to have much more than that. It's very isolating, and that can be a good thing.
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