A Quote by Robert Carlyle
Each performance and each film is what it is. It's right and belongs within that moment. You look at it and try to make it fit your particular part of your character and your particular film.
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I have songs that define characters from each film of mine. It can be a song from that particular film or something that just goes with the wavelength of the film; you listen to it, and it gives you that rhythm. I can't articulate how it helps, but it somehow gives you an understanding of the character.
So for a period of time each day, try to sit, without moving, without expecting anything, as if you were in your last moment. Moment after moment you feel your last instant. In each inhalation and each exhalation there are countless instants of time. Your intention is to live in each instant.
If you look deeply into the palm of your hand, you will see your parents and all generations of your ancestors. All of them are alive in this moment. Each is present in your body. You are the continuation of each of these people.
I don't make movies. I don't feel that I have to have artistic control. Part of this comes from the fact that the book lives on no matter what Hollywood does to your novel in terms of a film. Now, you try to be careful who you allow to do your film because nobody wants their novel to become a turkey movie. But, on the other hand, it is a crapshot anyway, because even the best people can make a bad film.
When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'
I do a film because at that particular moment, I want to make a film. It is my attempt at moving away from the ordinary.
Maintaining a sense of your personality grounds you in your space. I try and just make what I wear a reflection of how I feel at that moment, at that particular place in time.
You must believe in your own instincts and your own instincts at any particular time and believe that they were the right ones for any given situation. So, there's no point ever of kind of regretting something because you can't properly remember the exact circumstances in which you were playing out this particular scene. You have to believe in your intuition and your instinct at that moment.
TV is like a school. It is easy to shoot for a film. In movies, you have a definite start and end. You know your character is there for a particular period.
It's easier to go from theatre to film than the other way round. In film you're absolutely loved and cossetted and cared for. In film your director makes your performance. In theatre you're carrying it all.
I think that a lot of the time I don't go for something in particular. I see what comes to me, I filter it out. I never really strive to play a particular character or do a particular genre of film. As long as it's a good script and a great range of people and my character is really interesting I can't see any reason not to do it.
I have this theory that your first film is always your best film in some way. I always try to get back to that moment when you're not relying on things you've done before.
When you look back at your own life, you see ... the sufferings you went through, each time you would have avoided it if you possibly could. And yet, when you look at the depth of your character now, isn't a part of that a product of those experiences? Weren't those experiences part of what created the depth of your inner being?
You can rely on your team to do their jobs, but you have to carry the torch and do anything you need to, not just to shoot and finish, but to get the film seen. You have to know within yourself that you're going to have to take this. Don't sit back and think other people in your team are going to make it happen now because you've done your part. You have to carry that torch, and no one is going to care as much as you do, and nobody is going to live with it as long as you are because it's your film.
Perhaps 25 to 50 years from now, I can design a piece of music, no so that it appeals to something common in millions of people, but I can design the music so that it's exactly right for you and only you at this particular moment for your particular experience, things that have happened to you over 20 years, to you're particular mental state right now.
I'm there [on Moana] with the other actors, so you play off one another. It's not just your idea of what the character is and what the world is like it would be in an animated [film], where it all sort of exists in your head. It's all right there, and if Diego's performance is doing what it's doing, it affects yours.
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