A Quote by Toby Jones
But I think the children of actors share a certain pragmatic approach. One is denied some of that 'running away with the circus' element of being an actor.
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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.
Truthfully, most directors don't direct actors. Every actor is different, so when you're asked, "How do you approach an actor?," it depends on the actor. With some, you do nothing. With some, you're very specific.
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.
It's like running away to join the circus, everyone wants to do it when they're young but then you grow up and get a proper job. But somebody's got to do it or you wouldn't have the circus.
I mean, I always think when you're an actor you have to be the guy running into the burning building rather than running out of it, if you want to make some noise as an actor.
My advice to young actors is probably to do some theatre; definitely do that. I keep running into these actors who have never been on stage, and it's invaluable for an actor. What you will learn about yourself is huge.
I am not against being pragmatic, because it is pragmatic to make a good pass, not a bad one. If I have the ball, what do I do with it? Could anybody argue that a bad solution like just kicking it away is pragmatic just because, sometimes, it works by accident?
I guess you can say that every actor is a 'character actor' on some level. But I think some actors have a wider range. I think that's how you get that mantle.
I felt a gravitational pull to the material so that there's a certain element of acting that's not really necessary. I've really liked this in foreign movies before or I've observed others working with them and I've noticed that there's a method that goes on where the actors try and get the children, like the child actor, to interact with them in a real way. It seems like you're the adult trying to get the kid to fall in love with him.
The great character actors are now the actors whose work has the element of ritual sacrifice once claimed by the DeNiros of the world, as well as the element of danger - the actors who thrill us by going for broke.
I think I survived by running away some. Running away to work.
There are some actors who have an interest in comedy but they can't say this openly. They do feel insecure about the comedian walking off with all the applause. In fact, I have seen my lines being changed and scenes being reworked to suit certain actors.
The character and the actor in a long-running series slowly become one. I think there must be funny stories about actors who, in the pilot for a TV series, did some weird thing with their eyes, or some speech impediment or something, and the next thing you know, it's eight years later, and they're still doing that freaking gag.
I typically try not to think too hard about what I'm going to do in a certain scene with a certain actor in a certain moment because I think that kind of lends its way to not being as improvisational and sort of carefree as one would hope.
As a kid, the theatre always felt a bit like running away to join the circus.
I think that all people that get to a certain level of their celebrity are brands. I accept that. I don't value it in any personal way. I value it as an element of my work. I'm more pragmatic in that sense. I do get very rattled if I don't get enough normalcy in my life. I like solitude. I can't even write music if I'm not isolated.
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