A Quote by Rebecca Hall
I think I have a job, which is to present a character in a story and entertain you and divert you with my work - that's it.
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I think a writer's first job is to entertain, even in novels: to tell a compelling story that pulls the reader along toward an end. At the same time, the best stories are character-driven.
Get the big view of your job. Think, really think your present job is important. That next promotion depends mostly on how you think toward your present job.
You're in a movie, so you have to think about how something plays. It's not like you're thinking about how an audience is going to react. You're trying to present the story. You're trying to illuminate the lives of these people in the story. So I'm thinking about how my behavior as this character best illuminates what's going on with them in this moment in time. I always say it's sort of the director's job. People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.
The whole notion of journalism being an institution whose fundamental purpose is to educate and inform and even, one might say, elevate, has altered under commercial pressure, perhaps, into a different kind of purpose, which is to divert and distract and entertain.
The memory is perpetually looking back when we have nothing present to entertain us. It is like those repositories in animals that are filled with food, on which they may ruminate when their present pastures fail.
I think I'm a character actress at heart, and I think my work is character work for the most part. I'm not the lead of any films - which is not to say that I wouldn't ever want to be; it is just to say that hasn't been my path.
I do not mean to be the slightest bit critical of TV newspeople, who do a superb job, considering that they operate under severe time constraints and have the intellectual depth of hamsters. But TV news can only present the "bare bones" of a story; it takes a newspaper, with its capability to present vast amounts of information, to render the story truly boring.
I think the great thing about the Jack Ryan films is that the plot and the story always take center stage. If you've done your job as the actor portraying Jack Ryan, you are present enough to make an impact, but you let the story shine.
Some novels present a story form many points of view. Most movies tell only one person's side of the story. Sometime it's easy to use the strongest point of view, or find the character with the most dramatic experience. It depends on which themes the scriptwriter wants to explore.
My job is to help the functioning of the story, not to draw attention to myself, but to make my characters function within the story, to work for the benefit of the story, to make the whole thing work.
The Dain Curse [Tom Fink] was a great job. I was in New York, and I was young - I think I'm 28 years old in that - and I got to work with James Coburn and Jean Simmons and Jason Miller. Plus, it was a Dashiell Hammett story, and I had a great character. It was fantastic to shoot.
I'm an actor, so I think without a character to play, a story to tell, a song to sing... there's some suspicion that there's no 'there' there. Like, if I were to just strip down and present myself, I think I'd sort of just... disappear.
It's rather disconcerting to sit around a table in a critique of someone else's work, only to realize that the antagonist in the story is none other than yourself, and no one present thinks you're a very likable character.
The job's always the same. It involves helping to tell the story and creating an alloy between character and story that serves the film.
I think if you're too embroiled in the need to relate too closely to the character, then you start to judge the character for the audience rather than to present it to the audience for their enjoyment and them to mull over the questions that the characters present.
My job as a character actor is to make me fit the character, to serve the character. To present this human being who turns up in a piece of film or entertainment that's going, you know, exist as if it might exist after the film is finished and it existed before the film has started.
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