A Quote by Marshall Curry

I think that any time you are making a film you have to realize that the people you are talking with might be giving you misinformation. Sometimes it is factually incorrect and for that, it's important to me to check it out and not let things find their way into the film without being challenged, either by me, or by another character, or by evidence that you might see on screen.
My job as a character actor is to make me fit the character, to serve the character. To present this human being who turns up in a piece of film or entertainment that's going, you know, exist as if it might exist after the film is finished and it existed before the film has started.
There's something that happens where you go, if you're lucky, goodness me, from film to another film to another film. And you can sort of feel that if you step off that treadmill, it might all go horribly wrong and you might never be employed again, you know. And I suddenly thought that that's not necessarily the case. And I also thought we make drama as actors about people in the world and that if you are on that treadmill, you start making films about other films.
Jesus offered a single incentive to follow himto summarize his selling point: 'Follow me, and you might be happy-or you might not. Follow me, and you might be empowered-or you might not. Follow me, and you might have more friends-or you might not. Follow me, and you might have the answers-or you might not. Follow me, and you might be better off-or you might not. If you follow me, you may be worse off in every way you use to measure life. Follow me nevertheless. Because I have an offer that is worth giving up everything you have: you will learn to love well.'
I realized that once I graduated from college, there might be a period of time where people might typecast me or be more limiting, and I might not be able to play a crazy character. For me, it was important to do that at least in school.
I think it was very important for me to look at starting to build a safety net so that I didn't feel the insecurity of the ups and downs of finances because I might do no film a year, or I might do six commercials, or I might do none.
One of the things I noticed about the world was - it's funny, in the movie business, you meet a kind of guy who has a lot of money, whether they came by it as an actor or film-studio owner, and you realize these people aren't any smarter than you might be, or any more decent than you might be. It's just this weird fate of the world that it broke one way for someone.
People have said to me for a long time, "Man you're funny." I say, "Well, I'm quick," but being funny on purpose, take after take - that's why I said for me it was new territory, and so by improvising something might come out that might be good. And it's film, so they can cut it if it isn't.
I love editing. I think I like it more than any other phase of film making. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit.
I am a shy person, basically. I don't think I can take my shirt off in front of so many people. I never thought about it. No one asked me to. But I don't even know if people like it if they see me without a shirt all of a sudden. But let's see, if a film demands it, I might just do it.
Many people think making a film about history... about war... about the Holocaust, it might be heavy, dramatic and traumatic. I don't see things like that... you can find irony everywhere. It's how I look at life.
We're at a time now where there's a lot more "I'll do whatever it takes" attitude. I'm not going to say or do what you want me to say or do just because it might help me or be the politically correct thing to do to help my career. And that may have hurt me sometimes. I think about different collaborations that have been brought my way - it might have meant I'd get to be on TV to do certain things, but I've said, "No. It doesn't make sense. I'm not doing it." And other people might jump at the opportunity.
Many times - especially when I'm playing an historical character - I want to be really on target with how I create that character and really nuanced with who that human being might be. But I don't want to lose the likeness of me or the depth of my own personality. So meditation and my spirituality has helped me to realize that, yes, I want to get out of the way but I also want the ability to hold on to what the audience likes of what they see of me.
I think that a lot of the time I don't go for something in particular. I see what comes to me, I filter it out. I never really strive to play a particular character or do a particular genre of film. As long as it's a good script and a great range of people and my character is really interesting I can't see any reason not to do it.
That's the process of making the film and it isn't until the world puts their eyes to it that you find out if it's creating any kind of connection at all. But every single film at some stage of the film I think, "I wonder what this is going to be?"
When you're watching, I find two things happen. You either watch a film and it's really good and then you think, "Why can't I do that?" Or you watch a film and it's not good, and you think, "Why am I doing this?" So either way, it feels like being at work.
I've always been interested in film, so to get involved in any way in the genesis of making a film or music for a film is fascinating to me.
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