A Quote by Sam Heughan
You have to trust that the script is right and be comfortable with everything, and then you just have to go for it and disregard anything you've previously heard or felt about it.
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My after forty face felt far more comfortable than anything I lived with previously.
If you knew everything was really was all right, and that it always has a happy ending, then you would not feel trepidacious about your future. Everything is really so very all right! If you could believe and trust that, then, immediately everything would automatically and instantly become all right.
As an actor, I have always felt, everything is available in the script. If there is anything you feel the script lacks, you can have a discussion with the director and point out those.
When I first heard about Beverly Hills Chihuahua, I thought, no. This, this is ridiculous. And then you read the script and you close the script and you go, "They aren't going to be able to do that with real dogs. How are they going to do that?" You're going to see the strings. But they did.
You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.
My after forty face felt far more comfortable than anything I lived with previously. Self-confidence was a powerful beauty-potion; I looked better because I felt better. Failure and grief as well as success and love had served me well. Finally, I was tapping into that most hard-won of your dews: wisdom.
I was never comfortable because I was always trying to wear what was trendy, but it never felt right on my body or in my skin. It felt wrong. I was finally like, hey, fashion and style can be just about self-expresession, about what makes you feel stylish.
Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.
For me, the first thing is script. When I heard 'Mom''s script, it really touched me and moved me. I felt really nice about the story. That's the reason I did the movie.
Honestly, it's the luck of the draw. If you are comfortable with the actor that you're opposite of - it just breaks down a lot of those insecurities and you can just say, "Okay, I trust this person, and I respect them and know they respect me," and then you can just go with it. When that doesn't exist, it's a lot harder to let go.
It's always about trying to make everything go with the music, like a script. It's not like, 'Let's have a confetti gun!' If I ever have one of those, it will be because it's absolutely the right thing at the moment in the song. I can't just go get a confetti gun.
Have you ever heard a good joke? If you've ever heard someone just right, with the right pacing, then you're already on the way to poetry. It's about using words in very precise ways and using gesture.
You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it.
I just couldn't believe that it [Into the Forest script] had fallen into my lap, because I felt so incredibly connected to my character, and I understood her, and I really...I haven't had that feeling about a script since I had read Thirteen or The Wrestler when I was just like, "No one else can do this." I just feel so passionate about it.
I haven't heard anything about a reunion show for Sisters. But if the script was good I would do it.
But then I got a job selling coffee at the York Theatre, and when I met theatre people, something clicked. I felt comfortable with them; I felt like myself. I decided to go to drama school based just on that feeling. I had never done any acting.
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