A Quote by Rodrigo Santoro

I actually have a piece of the wardrobe of most of the characters that I've played. I always ask for something. — © Rodrigo Santoro
I actually have a piece of the wardrobe of most of the characters that I've played. I always ask for something.
Fantasy was something I'd read as a child. And, in fact, my teachers despaired a little bit because I refused to give up Enid Blyton. Then I walked through the wardrobe with C. S. Lewis, and I don't think I actually have returned fully from the wardrobe. So, fantasy was something that was in my life from quite young.
The only problems I sometimes have is if I ask for a piece for a group show, if I ask for a piece - I would like to put it into a show, sometimes the collectors get possessive about it and don't want to let something happen. Say you get full credit, you know. You give them your name, the catalog and it always enhances the value of the piece, you know, the more shows it is in, blah, blah, blah.
I've never really played everyday people. I've played realist roles, but not mere daily life. There was always something incredible happening to my characters.
Actually the copies of characters is something I don't particularly like to talk about in articles but just for your information, most characters there's only one.
When you start to build a serious wardrobe, the navy blazer is the very first piece you should choose. It can be a building block for an entire work and casual wardrobe.
I don't find the characters I've played funny. The characters are actually taking their situations very seriously.
Ive never really played everyday people. Ive played realist roles, but not mere daily life. There was always something incredible happening to my characters
People always ask me, "Oh, do you ever want to start your own thing?" And I don't, actually. I think what I enjoy most is the sort of co-production of things, where you bring something and somebody else brings something and a kind of alchemy happens.
It's something I'd find rather distracting in a historical piece, looking at characters that have obviously just gotten off their Ab Blaster. You see a piece set in the 1300s or the 1800s, and you've got characters who have perfect abs and are incredibly well-groomed, not a hair out of place, and it just doesn't make sense.
I'm so lucky to play Sugar because she does get the best wardrobe. Sugar is always in something fluffy, feathery, animal print-y, sparkly she doesn't ever stop with the amazing wardrobe. There's a neon number I thought, when I saw the wardrobe in my trailer, that everyone was going to be wearing neon, but no - just Sugar. And it was fantastic it was so fun, I love neon!
American culture in particular has instilled in us the bizarre notion that to ask for help amounts to an admission of failure. But some of the most powerful, successful, admired people in the world seem, to me, to have something in common: they ask constantly, creatively, compassionately, and gracefully. And to be sure: when you ask, there's always the possibility of a no on the other side of the request. If we don't allow for that no, we're not actually asking, we're either begging or demanding. But it is the fear of the no that keeps so many of our mouths sewn tightly shut.
I always like to think of music as if you were to turn the picture off, actually. Just by listening to the piece of music, there's a story there and a connection to the characters and the plots and all of that.
People often ask me if I feel discriminated against as a black female director. I don't. I'm actually offered a ton of stuff. But I only want to direct what I write. And I prefer to focus on black female characters. What's most important to me is to put characters up onscreen who are not perfect, but who are human and flawed.
I think it always helps when you build a character, and then, you actually step into that character's wardrobe, something else happens. Another angle of the character comes to life.
I've played myself before this ["Brent Spiner"] - and I've played myself since, for that matter - and playing yourself one of the most difficult characters you can play, 'cause God knows most of us don't know who that is.
What happens is some of the characters I've played have voices that are so different from my own, that it would be ridiculous if I would dip in and out of that voice in between takes to ask for a coffee, or something. Or to gossip about whatever was going on.
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