A Quote by Omari Hardwick

I've approached every character I've ever played with a poem, first and foremost. — © Omari Hardwick
I've approached every character I've ever played with a poem, first and foremost.
Perhaps first and foremost is the challenge of taking what I find as a reader and making it into a poem that, primarily, has to be a plausible poem in English.
First and foremost, stepping into something like a Marvel project is insane. I mean, my character is from 1968, and she's the second female X-Men ever. It's exciting, but it's also a great amount of pressure to do right by the character.
I find the voice is what I look for first and foremost with just about every character I play.
People are first and foremost Republicans, first and foremost Anarchists, first and foremost a man or woman, and that is a mistake. It hurts the individual and it hurts the whole.
As first and foremost a character actor, I've always resisted the temptation to cure any of the people I've played or make them lovable in any way; you've just got to celebrate them for what they are.
On the last day of every character I've ever played, I lay the clothes out on the floor with the shoes and socks, so that it looks like the character has literally vanished. That's the way you have to leave them.
Doubt is crucial, I think, in every character I have ever played.
Like a pianist runs her fingers over the keys, I'll search my mind for what to say. Now, the poem may want you to write it. And then sometimes you see a situation and think, 'I'd like to write about that.' Those are two different ways of being approached by a poem, or approaching a poem.
First and foremost, I think it's just such an incredible gift as an actor when you're presented with a notion of essentially playing two characters in one - which is kind of how I approached Timmy in this version of The Craft.'
No poem, not even Shakespeare or Milton or Chaucer, is ever strong enough to totally exclude every crucial precursor text or poem.
I'd say I'm a pretty intense person. I'm definitely not my Denise character on 'Scrubs,' nor my Jane character on 'Happy Endings,' but I'm a mix of the two. I really feel that I'm kind of every character that I've ever played; it's just a part of me. And I am a bit of a control freak like Jane. I'm very, perhaps, obsessive like that.
What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up
What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up.
Before I even pick up a guitar, usually the words are done. So I'm not first and foremost a musician. I'm first and foremost a writer.
I always try to approach character first and foremost viscerally.
When we approached the project, the very first thing we did was take each character and say, "Okay, where would this character be?" We didn't want them to be caricatures of themselves. We wanted them to live and breathe, and grow with the audience and with us.
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