A Quote by Gaspard Ulliel
I think an actor can actually gather moments, memories and emotions for his next character. So, it's a constant work.
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I think Ryan Gosling is a really great actor who's meticulous about his work. And I'd love to have the guts that Johnny Depp has to actually go outside the box on a character. When he plays a character, he plays it in a way that nobody else would.
I think of myself as a character actor, compared to a straight actor. I know a character actor in England is pretty much the same as in the States; you're actually hired to put on terrible teeth and stuff like that.
'Passione' is a selection of the music moments that have accompanied my youth; a collection of cherished memories, of moments, of fleeting emotions, of sleepless nights.
It's strange to look back over a full season. Our characters have accrued all these memories, but so have we, the actors. And sometimes the character memories and the actor memories bleed into each other.
I think as an actor... I don't like to compare a character to anybody else, just because I respect other people's work, and I want that character to have his own identity.
So many actors get caught up in their technique, and to be honest, I see it really getting in the way. I see them forcing things. I definitely do my best work when I'm free of that. But I think as an actor, I work really hard in preparing the roles. I spend like 90 percent of my waking moments walking around thinking: "What does this character do? What is his relationship with so-and-so?" Always, really. Too much!
We actually needed the memory - if you see the film - as a very different kind of a plot device of revealing some information to our main character. So we chose to represent it as these sort of beautiful little snow globes, which kind of, weirdly, that's the way we think of memories - at least, most of the folks that we talked to. You think of these memories as being very pure and absolute and unchanging. That's not actually real life.
Dustin Hoffman said this one time, that if he hadn't made it as a film star, he would still be happy as a character actor because he was a character actor because of his face from day one, so he would always work in the theater.
The truth is, an actor's performance is the result of work by a lot more people than just the actor. When you see that character portrayed up on screen, there is the work certainly of the actor, but there's the work of the editor, there's the work of what the camera was doing. What the music was doing, all of the above.
I would love to work with Johnny Depp. I really admire him as an actor, and personally, in my opinion, his portrayal of Captain Jack Sparrow is one of greatest performances given by an actor. I love his creative sense and the way he creates a character, so it would be a dream come true to work with him.
The actor has to develop his body. The actor has to work on his voice. But the most important thing the actor has to work on is his mind.
It's so much easier to write for an actor than for an imaginary character and then try to fit that character to an actor. It doesn't work very often in my experience.
I'm not that complicated as an actor. I have a formula in which I work, yeah. But not like Sean Penn does. Sean is one of the few actors I know who can work like that, actually becoming the character he is playing, and get consistent results. I don't believe you can ever be someone else. You manifest different levels of your own personality to come up with a character.
Bond doesn't have an inner life. There would be moments when I'd think, 'We need to gather our thoughts here and have a breather,' where in another novel you'd slow the pace, have some description and see what Bond feels about this. But Bond doesn't reflect. All you can do is move on to the next bomb or shark or car.
The interesting thing about doing serial television is that the character is growing separate from you, the character and the show are growing, and you get to observe that and participate with it in a way that I think is actually really exciting for an actor.
There should always be that leeway because if you think of your character as sort of absolutely fixed, then you just try and find actors to come and do exactly that thing, then you're not gonna be working with that actor's own set of internal impulses and who they are, so the best work is always a coming together of the actor and the character.
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