A Quote by Toby Jones
I don't know if it's harder but when you're playing a real person you want to honor their memory - even if they're a criminal or someone that the public loathed. That can be challenging.
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When you're playing a real character, you want to honor that person and receive inspiration from that person. They need to anoint you in some way that allows you to borrow just a small piece of their soul. That is the flame.
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.
I want people to know I'm a real person, that I don't have someone running my Instagram; I don't have someone prewriting all of my interviews and stuff.
When you are in the public eye, in the name of public service, you have to understand that the more people know about you, and the more people say they want to support you, the more you have to work even harder to uphold that trust.
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.
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.
I have to say I'm all for public flogging. One type of criminal that a public humiliation might work particularly well with are the juvenile delinquents, a lot of whom consider it a badge of honor to be sent to juvenile detention.
I've never been a person that has had fear of, like, 'Oh, I don't want to be the poster child for all black lesbian women.' I don't know. I want to be someone in the public eye that they can be proud of.
I think, first of all, every time you want to play somebody who is real is always challenging and always scary, because you are given a responsibility of someone's real life.
I feel that when someone is ignored, that person strikes even harder.
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.
I want to be a better writer. I want to learn and grow, to know how to tell stories in a different and more challenging way. I've learned it doesn't get easier each time. It actually gets harder.
In existing criminology there are concepts: a criminal man, a criminal profession, a criminal society, a criminal sect, and a criminal tribe, but there is no concept of a criminal state, or a criminal government, or criminal legislation. Consequently what is often regarded as "political" activity is in fact a criminal activity.
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.
If you're playing a fictional character, you can create a character, you can sort of take certain liberties. And when you're playing a real person who's actually standing there watching you, you know, it's - you do feel a weight. You know, you feel an obligation to not only be - to give the best performance that you can, but to make sure that you represent this person.
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