A Quote by Patrick Huard
Some like to start from the inside and then go to the outside. I'm the other type of actor. First, I have to know how my character looks, how he walks, how he drives, how he eats.
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I'm a physical actor in that I start with a physical sketch of the character. I find it easier to find inspiration from the outside in. If I find the character's tensions and the way he carries himself or looks, that's going to affect how I talk. So that's how I start to create that person.
If you're a certain type of actor, then eventually stepping into a director's shoes is a natural transition. I've always been the actor who's very focused on the narrative, where my character is in the story, and how I can benefit the story. I've always had a technical aspect of what the lens is, how the camera is going to move, how I can feed the information the director applies within that move. If you're that type of actor, narrative-based, technically proficient, the next step is actually not that far.
Other than hitting the ball...there's nothing else I have ever done or know how to do. How to live on the outside, how to earn a living, how to take of my family, I'm a stupid idiot who doesn't know how to do any of that. Therefore...Please let me play baseball.
I don't know how to be like a Bill Murray or a Will Ferrell, these guys who know how to make a line funny just by, I don't know, some extra-sense perception. I only know character and emotion and real acting; that's all I know how to do.
The more you get into any religion, it becomes the same. It really becomes how you treat other people and how you get outside yourself. How you look to help other people, and how you get out of this 'I, me, mine' type of thing.
When you're on the inside, there's no other perspective but what you see on the inside. When you're on the outside, you get to look at things a little differently: how you can help, how you can fit in, how you can do certain things differently.
A story is not like a road to follow... it's more like a house. You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside it altered by being viewed from these windows.
The amount of preparation I saw from someone like [David] Fincher, and how aware he is of everybody else's job on the set, and how much respect he has for every aspect of the film, and every aspect of the frame - that's the type of actor I am now; it's not the type of actor I was then. But without understanding his process, and then coming to learn it later on, I would never be the actor I am now.
All of my fights are planned. I study my opponents from A to Z. How he walks, how he looks, how he speaks, gestures of the human body, which is a certain language that provides you lots of information if you have the ability to read it.
It is how you approach the role given to you, and how you relate to that character and then how you adapt and gel into that role which makes you a good actor.
It would be really cool to have some more roles where it doesn't matter how a character looks. You get a script, you see it, and it doesn't matter: there's no description of how the character looks in any way shape or form; it's just, whoever is right for the role is the person.
Since I was from the theater, that's how I learned how to go through the process of being a character. That's how I learned, and that's what I was comfortable doing. And then, the first feature films, I'm sure I was no fun because I did not want to be spontaneous in that filmic way that really can work for you.
I don't know how to play myself. I'm not interested enough in myself. That's just not how I was educated. That's not how I learned to become an actor. Acting is creating a character.
Some people don't know how to fall in love, like not knowing how to swim. They panic first when they jump in. Then they figure it out.
How it pours, pours, pours,
In a never-ending sheet!
How it drives beneath the doors!
How it soaks the passer's feet!
How it rattles on the shutter!
How it rumples up the lawn!
How 'twill sigh, and moan, and mutter,
From darkness until dawn.
We're all afraid of the same stuff. Mostly we're afraid that we're secretly not okay, that we're disgusting, or frauds, or about to be diagnosed with cancer. ... We want to teach you how to quiet the yammer ... how you can create comfort, inside and outside, how you can get warm, how you can feed yourself. And even learn to get through silence. ... There is a wilderness inside you, and a banquet. Both. [p. 253]
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