A Quote by P. J. Soles
John Carpenter was very gentle. He was very tender. He really liked talking to actors. He really wanted you to be comfortable. He waited until you were ready to do the scene, and he has a lot of confidence.
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I really, really liked shooting and doing the scene with Emilia Clarke and Peter Dinklage at the end of 'Winds of Winter,' when she gives him the Hand of the Queen. Because we shot it very simply. We felt like we had managed to do something that was visual but really was a very intimate scene between two people.
I know there are different kinds of actors, but I tend to have less effective relationships with actors who have a very private process - who really need to do lots of internal work, so that I become merely a witness until they're ready to share.
I really liked Glasgow. I really liked living there for a year. It's a very fun city, and it has a lot to offer young people who are interested in music and art. It's a very creative city.
Mark Frankel was just a very tender, thoughtful person, and that was really nice. At that point in life, I hadn't met a lot of people my senior who were that tender, and still doing well and making a real go of it. That was a treat, for sure.
Every day, every scene, you were like, "My god. I'm doing a scene with Brian Cox today and then I'm onto a scene with Stephen Rea." For us young actors, I think we were all very, very star-struck and impressed by the caliber of everyone who came out.
When I became a Sigma Chi it was great, because they were the pople I enjoyed being with and I was very proud of the association. It was kind of an instant confidence builder for me--that what I considered the best fraternity on campus had actually wanted me. And I had always been very shy and without a lot of confidence. So it was a really good social experience and for me it was also a social maturation. It was a great benefit.
When I first started writing, there was no way I'd write a sex scene. That just seemed impossible. That's why in "Fight Club" all the sex happens off-screen. It's all just a noise on the other side of the wall or the ceiling. I just couldn't bring to write in a scene like that. So one of the challenges with "Choke" was I wanted to write sex scenes until I was really comfortable just writing them in a very mechanical way.
Actors, by very definition, we want people to pay attention to us, and so usually, that comes in the package of insecurity. So if we're not comfortable, we don't really show you a lot.
I really just enjoy listening to talk [to John Hurt and Charlotte Rampling]... not even about acting or anything. It's interesting because I felt really connected to all these people very easily. They're all very open emotionally, like we're in the scene together, so you never feel like anyone's acting.
I was cast last minute for Casino Royale. They asked me to fly to Prague. I liked the script very much. I flew to Prague and did a bit of an audition. I was really focused and stressed out. And Daniel Craig was there. He was very, very blonde, like a Steve McQueen. He's moving a lot in real life. He's quite nervous. He was very lovely, very patient, and really connecting with me when we did the screen test.
Actually, I didn't like Dartmouth very much, but the whole theater scene I really liked.
I came in rather late in the casting process of Reaper. I believe they had all the other roles cast. They were having trouble finding the devil. They had seen almost 100 actors for the role. I got the script and I liked it - it was clever and witty and very, very funny, and a nice, fresh take on an old story. I went in and did a scene for the producers, the kitchen scene from the pilot where I'm cooking a chicken-fried steak. At the end of it, they all had a smile on their face, and they realized they had found their devil.
If I waited long enough and said, "Okay, so what you're saying is you liked your life a lot better when you were 30?" everybody would get real quiet and then admit that that wasn't the case, that they really felt like they were sort of growing into themselves in a way.
I'd see my daddy about once a month, and I missed him. I would have loved to have had more of him. He was tall, attractive and very quiet, very gentle. He had a wife who I don't think ever really liked me much.
I don't really like to work with actors that work a lot and are very well established already. In a way, I like to nurture talent and have it burst on the scene.
Working with [Kyle Chandler] in the scene was like playing tennis. You work with really talented actors, I think they make other actors look really, really good.
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