A Quote by Ruth Negga
In many ways, playing a real person is slightly easier because you have a road map. When you're playing someone fictitious, there's myriad ways in. With a real person, there's boundaries, and that sometimes makes the work easier.
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When you're playing a real person there's a balance between playing the person in the script and playing the person as he was in life. You have to be respectful and true to who that person was, but at the same time tell the story in the film.
When you're playing a real person, there's a balance between playing the person in the script and playing the person as he was in life. You have to be respectful and true to who that person was, but at the same time tell the story in the film.
For me, there's always a huge attraction in playing real people. But with it comes an incredible sense of responsibility because you're playing a real person in a real event.
If there's a role you're playing and there's a great deal of material to explore because the person was real then it's a completely different preparation time and message to playing someone fictional.
The person is a mystery. What I'm playing is the person so I really get to tell you and show you and communicate to you who I think the real person is and that real person is me. The most important thing is to play the human being you are creating, which is my job.
I think sometimes it's sort of easier to be playing a role based on a real person because there's quite often a lot more information, you're not making it up, it's there in books, it's there in research form. But really the questions you ask about the character, and why people behave, and where they come, and how they've ended up in the places they've ended up are the same.
There are many ways to go about a story. And if you give yourself some formal constraints, it just makes the job so much - maybe 'easier' isn't the right word, but because you know your boundaries, you can just play within those boundaries much more, so it's much more fun to do.
'Heel Turn 2' is about a person who's in a match, and he's playing as though the match were real. But it is real! If you're standing in the middle of a ring, and you're playing the villain, and everyone is booing and throwing things at you, that's real.
There's a way of doing comedy that feels true to the person doing it, that doesn't feel like clown-work or silly faces and antics, but that feels real - like you're playing a real person who has real thoughts and feelings, and it's very grounded. I started to watch all comedy through that prism.
Unless you're playing a real character based on a real person, if someone else has done it before, you're probably better off not watching it as an actor. Otherwise you end up trying to copy someone else.
It's much easier for me to do an impression of someone real, because you and the audience begin with a baseline understanding of this person's life. And then if you subvert that in any way, it's a little comedy surprise.
There's always mixed feelings about the work that I do. When you're playing a real person, that's another kind of responsibility. I have to say that every time that I have played a real person, even though I gave it everything I could, I feel like I misinterpreted trying to represent them. All the time I feel like I screwed it up! But I don't know if that's because I can't separate myself from it enough.
It's easier in some ways being on the life raft and the other guy's in the boat and you can row alongside and be supportive. In some ways, that's an easier role.
When someone cares... it is easier to speak, it is easier to listen, it is easier to play, it is easier to work. When someone cares it is easier to laugh.
People need to stand up, women need to stand up for each other and say, "No you can't kick this person like they're a dog. You can disagree with someone politically, you can have arguments, definitely privilege needs to be discussed in real productive and valid ways. But it's not real criticism if it's just like, "you're a disgusting bad person."
The early influences, in many ways, were in Baltimore. I was passing open windows where there might be a radio playing something funky. In the summertime, sometimes there'd be a man sitting on a step, playing an acoustic guitar, playing some kind of folk blues. The seed had been planted.
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