A Quote by Sylvia Hoeks

I do enter into character on set, but I can step out of it. — © Sylvia Hoeks
I do enter into character on set, but I can step out of it.

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The wardrobe is always the last piece of the puzzle. When you step into the clothing, that's the final step to figuring out that character.
I try to create an environment where, when we step onto the set, we're all in character.
When you step inside a set and transform into a character, it's your first brush with that role. It doesn't matter who you have worked with. Every character will be a first in your life as an artiste.
You play your character and it isn't right to step out of it. You have to stay in that character.
When you are on set, you are not your best judge because it is hard to step back when you are into the character.
What I do in the writing of any character is to try to enter into the mind, heart and skin of a human being who is not myself. It is the act of a writer's imagination that I set the most high.
This is a corny actor thing to say, but the first step is that you can't judge the character that you're playing. If it's built in three-dimensional fashion, you'll just play a character who's going out and seeking the best version of their life that they can find. That gives the character an accessibility that everyone can identify with.
I never set out to make any statements about a specific character, I just set out to tell what feels like is a truthful story, a person that you and I might truly encounter.
If I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.
No matter what you set out to do and how you set out to do it, you ultimately have to be who you are, and who you are as that character. So, I paid as much homage as I could to what Michael Clarke did, and had to rely on my own gifts to guide me through it.
Every actor has their own process. For me, I really need to stay in the pocket. So, if I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.
You are all dirty and grungy. You go step in the shower and you come out clean. When you enter into the white light, it does something to you.
There was a point where I was making four movies a year. I was always on a set. I had no stories to tell. I was feeling empty. My life was just luggage and hotels and from set to set, from character to character. And one day, I said, 'And where is mine?' You know? And the moment I started to feel that fear, I stopped and I slowed down.
Remember that you will never reach a higher standard than you yourself set. Then set your mark high, and step by step, even though it be by painful effort, by self-denial and sacrifice, ascend the whole length of the ladder of progress.
If everyone's happy, then I'm the character where when I enter that means there's trouble. In a movie, when I enter, it's not a good thing. But I know where I'm at. But, you know, you don't have to call me by my character's name for months on end. Football taught me that, because you can go from being best friends to having to play that person on another team, you have to be able to turn that on and off. You need to find that middle ground.
Feydeau's one rule of playwriting: Character A: My life is perfect as long as I don't see Character B. Knock Knock. Enter Character B.
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