A Quote by Sam Worthington
Some actors can create characters and leave them at 'Cut!', but I work the opposite way and drag them out of me. For me, it's about fixing your fabric to fit the role.
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People talking about politics usually start from the ass end backwards in that they think you have a political agenda, and then you make your work fit that cookie cutter. It's the other way around. One works by simple observation, looking into things. It's usually called insight and out of that comes your view - not that you have the view first and then squash everything to make it fit. I'm not interested in cutting the feet off my characters or stretching them to make them fit my certain political view.
I don't want to know about the lives of other actors and I don't want people to know too much about me. If we don't know about the private lives of other actors, that leaves us as clean slates when it comes to playing characters. That's the point, they can create these other characters and I can believe them. I think if you're a good enough actor, that's the way to longevity in the film business. Keep everybody guessing.
For me, a lot of these actors are new. For me, I only worked with Finn Whittrock and Michael Chiklis. So a lot of these actors are people I've been a huge fan of for years and are bucket-list actors for me to get to work with. It's pretty surreal now getting to step into scenes with them.You all get to find your characters together.
The way I see the job, my definition of it, is to create characters to the best of your ability and then fit into what's trying to be accomplished in the general framework of the film. I think that's whether you're doing this- even if you're doing musical theater. That's what I think an actors job is. I don't know. I like to think what an actors job is is to create characters.
I don't want to know about the lives of other actors and I don't want people to know too much about me. If we don't know about the private lives of other actors, that leaves us as clean slates when it comes to playing characters. That's the point, they can create these other characters and I can believe them.
Some people see me as dissecting my characters in some kind of heartless, coldblooded, analytical way, when in truth making these movies is a passionate, intensely emotional experience for me. I'm detached from the characters only to the degree that I have to be in order to write honestly about them.
Showing weakness will encourage your opponents. It inspires them. It encourages them to hit harder. To come faster. But when you don't show any fear, or when you don't show any hurt, you have the opportunity to discourage your opponent. You discourage your enemies. The bottom line is, if you think properly, you don't even have to think about all of that. All you have to think about is that guy across from me is human, and so am I. And he'll never out-work me. He'll never out-think me. And if you can't out-work me, and you can't out-think me, you'll never beat me.
I feel that I'd rather know an actors' work, or have an instinct about them and sit down and have coffee with them, or I'll see them in something and I'll see if I can get along with them in some way, shape, or form.
Anyone can take pictures. What's difficult is thinking about them, organizing them, and trying to use them in some way so that some meaning can be constructed out of them. That's really where the work of the artist begins.
You're out there on a high wire without a net, and that's the way actors operate. They have to be fearless about how they work and they have to create a life for the audience in 90 minutes and make them believe.
When you spend time with your friends, what do you talk about? Those things which made an impression on you that day, that week ... I write stories the same way. Events at home, in school, at work, in the street, these are the bases for a story. Some experiences leave such a deep impression that instead of talking about them at the club I work them into a novel.
It's all about finding and hiring people smarter than you. Getting them to join your business. And giving them good work. Then getting out of their way. And trusting them. You have to get out of the way so YOU can focus on the bigger vision. That's important. And here's the main thing....you must make them see their work as a MISSION.
You work with every actor differently. It's like if you're a mother, if you have children, some children need more discipline. Other children you back off of a little bit and let them be. It's the same way with actors. Some actors need a lot of hand holding. Other actors like to be let be and you let them go. Some actors like to be nudged just a little bit. Some actors don't mind line readings.
I like to work with actors that have varied experiences. But I don't choose them because of their experience, I choose them because of qualities I think would make an interesting character and to me there is no one way to direct actors, there is only one way to collaborate with one person.
Your characters are always your children. And while you are writing, you're keeping them safe. Now they're ready to go into the world and it's sad. I'm happy with the way the novel came out but all the characters' ending really saddened me.
Actors should stop complaining about nepotism. I am uneducated - I was asked to leave school in Class 11. I came to Mumbai with only Rs 300, yet there is no one in this industry who has not been nice to me. From filmmakers who have given me work to people who have given me advice, I feel blessed to have them in my life.
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