A Quote by Sharlto Copley
I grew up being fascinated by accents and dialects. One of the things that interested me were actors that were doing different characters, or sort of more caricatures.
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Earlier, only youngsters were trying their hands on digital platforms, TV was a different thing for actors and film actors were looked up as superior. Now, nothing of that sort exists anymore... So, I will be doing everything.
When I was growing up, officers in uniform were very impressive to me. They were doing a job. They were protecting our country; they were heroes. When you wear an old military jacket, there's some sort of connection to those qualities - to being strong, to being tough, to being a warrior.
My father and his brothers were all lawyers, so I think that the expectation was probably for me to grow up to be an attorney, but it never really fascinated me that much. I was more interested in building things.
I always had trouble being proud of how they were using me in WCW. It was hard for me to be interested in what they were doing, and what they were doing with me was pretty pathetic.
Language is so specific to art, all the way to the past in China. Previously, people were not allowed to include various regional dialects in their films, but in every film that I've made, I've maintained the regional dialects of the characters because I wanted to make films that were locally specific.
I think what shaped me was I had two parents who were scientists, and especially, they were great readers. They had both grown up in sort of rural parts of the South and were oddballs where they grew up. They were budding intellectuals.
I'm pretty interested in documentary film, and I'd watch almost anything. At some point, I stumbled upon 'shoot interviews' and found out that wrestlers were now talking openly about things that were going on in wrestling that we as viewers were not privy to. This fascinated me.
I'm starting to play lots more naturalistic, realistic people than when I first started. Maybe because I was doing character comedy shows, and I was doing slightly weird, oddball characters with weird accents, those were the characters that I got cast to play - which made perfect sense.
One thing that I noticed is having met some former Taliban is even they, as children, grew up being indoctrinated. They grew up in violence. They grew up in war. They were taught to hate. They were, they grew up in very ignorant cultures where they didn't learn about the outside world.
I remember going to a Trump rally in South Carolina, and it was really important and it was really interesting to talk to the people who'd shown up there because they were not caricatures, and so often Trump voters, Trump supporters were being portrayed in the media, probably I'm guilty of it as well, as caricatures. Each of these people, and I talked to maybe a dozen of them, had a very particular reason why he or she was supporting Donald Trump , but these were not casual, inexplicable decisions.
I grew up in Georgia and I think if you're raised in the South it's where a lot of the war was fought, and it's just more present in the sort of psyche of the South. So I've always just been interested and sort of fascinated by [Civil War].
Romeo and Juliet were stunning and beautiful, but a lot of the other characters surrounding them were caricatures.
It always did bother me that the American public were more interested in me than in my work. And after all there is no sense in it because if it were not for my work they would not be interested in me so why should they not be more interested in my work than in me. That is one of the things one has to worry about in America.
People have asked me why are Australians and Brits so good at American accents, and it's quite simple. We grew up listening to the American sound on our TV. That's why American actors have a hard time with foreign accents.
Coming from a sort of very rigid European type of training to this culture which is just a little more open - a lot more open, and kind of curious, and asking different sorts of questions.Because the problem for me was that the European modernist movement in the '70s was all about right or wrong. Some things were right and you were dealing with the truth, as it were, and then some things were wrong and therefore not allowed.
In fact a lot of them I think are absolute baloney. Those Charles Olsens and people like that. At first I was interested in seeing what they were up to, what they were doing, why they were doing it. They never moved me in the way that one is moved by true poetry.
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