A Quote by Tuppence Middleton

I don't want to be one of those young actors who is around for a couple of years and melts off the scene. — © Tuppence Middleton
I don't want to be one of those young actors who is around for a couple of years and melts off the scene.
A lot of young actors will do a scene and then run off and look at themselves. I don't believe in that at all.
A lot of young actors will do a scene and then run off and look at themselves. I don't believe in that at all
I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
What I don't like is when I see stuff that I know has had a lot of improv done or is playing around where there's no purpose to the scene other than to just be funny. What you don't want is funny scene, funny scene, funny scene, and now here's the epiphany scene and then the movie's over.
I want to attack and to lead my life with vigor, but I'm in the watching stage at the moment. Younger actors feel pressure to bring a pop to every scene; as the roles get bigger, I'm finding you can add layers and do less scene-to-scene.
Actors will, in their mind, want to 'steal the scene,' and the problem is that means the scene didn't work in the first place.
Every day, every scene, you were like, "My god. I'm doing a scene with Brian Cox today and then I'm onto a scene with Stephen Rea." For us young actors, I think we were all very, very star-struck and impressed by the caliber of everyone who came out.
There are so many numerical financial flaws in ObamaCare. Young people realize I'll take the penalty. I'll deal with whatever it takes for the next couple of years. Maybe a couple years down the road, they will start to pay.
When you're studying drama, when you're a young actor, there are simple rules about acting. "Why am I here? What prevents me from leaving? What am I trying to get? How do I hide something?" So when you're making a film like Abel's movie, you want to be thinking about those things all the time. And you wanna be armed with those things, and you hope the other actors you're working with have the same understanding of drama and scene and acting. Sometimes it works and sometimes it doesn't.
Competition [in a scene] is healthy. Competition is life. Yet most actors refuse to acknowledge this. They don't want to compete. They want to get along. And they are therefore not first-rate actors.
Actors want to act; actors want to emote. It's like the emotional equivalent of tearing your shirt off and screaming to the heavens: you want to express, and you want to be seen to be expressing.
I don't want to sound bigheaded or anything, but when you reach a certain level of recognition or fame, or whatever you want to call it, when you're young the first couple of years you think, 'Oh, this is fun.'
With films, I just scribble a couple of notes for a scene. You don't have to do any writing at all, you just have your notes for the scene, which are written with the actors and the camera in mind. The actual script is a necessity for casting and budgeting, but the end product often doesn't bear much resemblance to the script--at least in my case.
When you're young and you first come onto the scene, you're fearless. You just go for your shots and don't really think about the consequences. But as you play on through years and years, you get punished for those misses, and gradually, that leaves scars. It dents your confidence a bit.
It was a strange feeling, filming a night scene in Selly Oak High Street with a television crew and famous actors in tow, when twenty years ago, at that time of night, I would've been stumbling around in search of a kebab.
I think many young actors want to be daring. They want to surprise their fellow actors as well as their audiences.
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