When I play a gay character, I want to be as believable as possible. And when I'm playing a straight character, I also want to be as believable as possible. So the less that people know about my personal life, the more believable I can be as a character.
An actor puts himself in the hands of a director. And the director's first responsibility, obviously, is to tell the story, but the smallest thing that's not true reads on the screen. So if a director sees that an actor is not believable, he needs to help him become believable.
You have to do three things really well to make a successful film. You have to tell a compelling story that has a story that is unpredictable, that keeps people on the edge of their seat where they can't wait to see what happens next. You then populate that story with really memorable and appealing characters. And then, you put that story and those characters in a believable world, not realistic but believable for the story that you're telling.
In the end, it's about the reality. You want something that's believable in the performances; you want something that's believable in the storytelling, in the writing. You just want to connect to something that you feel is real.
It's weird that you have to work really, really hard just to be real or normal. Everybody's got their different techniques, but what makes a really good actor is somebody who's really believable.
I don't think fake people living in a fake house in a fake suburb are any less dismissible or believable than a fake psychic attending a fake school in a fake town. Nothing's inherently believable about any kind of fiction, because all of it's untrue.
Among its many other obligations, fiction always has to be believable. Life does not have to suffer such constraint, and much of what takes place is believable only because it happens.
You have to really think about what kind of guy the character is and decide on a style that works, that complements my physicality and that's going to be believable, but also be compelling for the audience and for the camera.
And the most important thing - apart from telling a good, believable story, and being a true character - is to be someone the audience will care about, even if you're playing a murderer or rapist.
I think 'astroturfing' goes against the conservative creed because it violates the desire we share to be self-sufficient, and this is understandable, something with which I agree.
I don't reflect on sort of the age of the roles that I get. It's usually just what plays into what's believable - 'Am I believable at this age?'
Every movie has the thing it's about, and then, deep down, it has this thing that it's really about. 'Star Wars' is not really about a space opera, action, and the galactic quest. It's about self-doubt.
Every role is approached in exactly the same way, you have to make it believable and that's all. Acting is really serious, like, pretending really hard.
Not everybody can do the comic book adaptation thing and make it believable. It is challenging.
When I'm doing a role the one thing I ask is 'Is this believable? am I being truthful?'
When I originally came from 'Cheetah Girls,' I was making music that was real to me but not believable. I think there was a disconnect there. I am a grown woman, and I've been through a lot. The most important thing about my music is that we don't jump the gun and throw anything out there.