A Quote by Alexander Skarsgard
I was nervous when I first started True Blood because if you do a play or a movie, you know the complete arc of the character. You can see the end. But with a show like True Blood, you don't know what's going to happen.
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I'd watched every episode of 'True Blood' from the very beginning. The show's characters were in my blood, so when I started, I was really prepared. I made sure I wasn't the new guy asking stupid questions on his first day.
I was going to play in First Blood, but I suggested to changing it and I dropped out. I said to [Silvester] Stallone, 'You know, I almost stopped you from making millions of dollars,' because in my suggestion, I killed his character at the end of the picture .
Co-writing the 'True Blood' comic is a dream come true both as a performer on the show and as longtime comic fan. It's a real privilege to build on the rapidly growing 'True Blood' mythology.
Sometimes it's fun to be the guy who doesn't know that he's bad, like the character I played in 'True Blood'.
Having been a theater person first, you have the whole character, and you see the arc of the character in a play. And then when you do a movie, you have the whole character - or, if it's a small role, there's not much arc, but you see what the whole part is.
On 'True Blood,' the character's name is Sookie Stackhouse, and my name is Suki Waterhouse. So, I get people saying, 'Oh, I thought we were meeting the girl from True Blood.'
In a play, you know where you start and end and all the stops you have to do, but in television, you can't construct this carefully planned out arc for your character. You often get a script and you're shooting it two days later, and you don't know what's going to happen next. It's one of the harder things that I've done.
As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch. They're going on the journey with you, as the actor and the character.
At one point I had a stretch where it was working on 'In Treatment,' then 'True Blood,' then 'Durham County,' then 'True Blood,' then 'In Treatment' again. If I didn't have that little dose of 'True Blood' in the middle, I might have lost my mind.
As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch.
With a film, you know the beginning, middle and end of your character's arc. But on a TV show, you have no idea where they're going to end up.
I felt like I'd culturally arrived when a character on the HBO show 'True Blood' was reading a hardback of 'Heartsick' at Sookie's kitchen table.
The first job I booked was on 'True Blood.' I played a blood siren.
I really feel like 'True Blood' is a big, giant slice of cake for the audience every week; it's offering people 60 minutes of sometimes thought-provoking entertainment. If you're gonna give an Emmy out, you should probably give it to the audience of 'True Blood.'
The interesting thing about 'True Blood' is that its appeal is not contained to teenage girls. I get stopped in the street and questioned by 70-year-old men whose wives and daughters are making Bloody Marys and throwing 'True Blood' parties.
True, I don't begin with an idea for a play - a thesis, in other words, to construct the play around. But I know a good deal about the nature of the characters. I know a great deal about their environment. And I more or less know what is going to happen in the play.
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