A Quote by Zach Braff
You know how they do that effect in movies, where they make it look like you have a twin, but it's really just the same actor playing both characters in the scene? I knew this would be the best route, but I just wasn't comfortable dressing as a woman, so I had to hire other actors.
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I have about as much control over how I look as the guy who's short and looks more like a character actor - we both have the same drive to be actors and we both have the same drive to assume these different characters, it's just harder for me to get the chance because they look at me and say, 'Oh, he's this type,' and they stamp me.
I may never know what type of effect I have on my sons, just like Granny never knew the effect she had on me. So I just try and make the best decisions that I can, be the best father that I can.
Working with [Kyle Chandler] in the scene was like playing tennis. You work with really talented actors, I think they make other actors look really, really good.
It's true that I don't think I'd be a good director. If I were a director, I'd try to hire the best people I could and then leave them alone. I don't know much about cameras or lighting, so I'd make sure that I had a really good cameraman who understood lenses and lighting, and I say to him, "This is the scene we have to shoot and this is what I think it should be, you go do it." Same with actors. But really, very good directors who know everything do basically the same thing. They hire you and then they leave you alone.
I think all the actors I've worked with knew that I was an actor. Like, I get into the dirt with my actors and we figure out the rhythm of the scene and how it needs to sound and what the blocking is, the way you would with another actor.
Acting is such a high art, and coming from theater, I know how hard it is and respect the craft. I want to look back when it ends, and say I challenged myself. I wanted to be an actor you always remember, and those who are the great ones. That's just a personal journey. If you're too comfortable you're taking it too easy. The director can direct you for two months but before that it's just you and your internal drive. I want people to go to my movies and know it'll be good, and with great actors. You never know what you'll learn from just staying in the same space with them.
The truly great actors, like Charlize Theron, are just like, "I'm an actor. For hire. I show up, I do my job." There's no "I'm just waiting for the inspiration." They just do their jobs. They say, "Let's go over the scene a few times and get it."
For any actor, when you're playing twin brothers, you have to be able to find the similarities between them as well as creating a difference between the two characters. If they just looked the same, what would the point of that be?
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.
You're always going to have ups and downs - if you look at the careers of a whole bunch of people I respect, some of them have good movies, some of them have bad movies. I remember Andrew Garfield said that the only power we really have as actors - or one of the main powers we have as actors - is our choices. We can make interesting choices, but as soon as you've made that choice, so much else is in play: the director, the script can change, the other actors. All you can do is try to make interesting choices and, once you're in it, just do the best you can.
The visual stuff just lives inside of you. As far as really being able to take care of an actor on a set, how to talk to an actor, and how to get what you need out of a scene is probably where I might know a thing or two. Although, in TV, the actors are pretty much left alone. It's really the writer's medium more than anything.
Really good acting is not about dialogue. It's really just about small moments that really make the whole entire scene and the intention completely different than even maybe what the characters are saying. Two characters could be saying, "I hate you, and I don't want to be with you anymore!" But yet somehow, their toes are just inching more, you know, closer to each other. So a really big thing about acting is really just with your body.
I love Kimberly Peirce. Incredibly intense is a good way of describing her. Brutally honest. Really sharp. She's a director for actors. That's what she's best at, sitting down with an actor and just getting to the heart of what a scene is. And getting to the heart of not just what the scene is and the character is, but what you are, and how to build that bridge between the "me" and the character, and those emotions.
The secrets that the characters hold are held back from the audience, and that's such a delight to hold onto. When you're playing scenes, it gives you an inner dialogue that allows you to really immerse yourself as the actor, in every scene that you're playing. Nothing felt expositional. Nothing felt like we were just doing it to move the story along. There was a reason these characters were saying what they're saying. It was a gift, really.
Honestly, I understand that as an actor I should be comfortable with playing different characters. I am also not degrading those actors who are part of stories that require intimate scenes, but as an actress, I wouldn't be doing any scene that requires smooching and making out.
I don't want to know about the lives of other actors and I don't want people to know too much about me. If we don't know about the private lives of other actors, that leaves us as clean slates when it comes to playing characters. That's the point, they can create these other characters and I can believe them. I think if you're a good enough actor, that's the way to longevity in the film business. Keep everybody guessing.
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