A Quote by Guy Burnet
If I'm playing a fat person, then I actually eat a lot of cakes and as much as I can. If I'm playing a person in shape, then I'll increase my intensity of boxing training. It's really dependent. It kind of allows me to take whatever specific character I want.
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Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.
If you're playing a fictional character, you can create a character, you can sort of take certain liberties. And when you're playing a real person who's actually standing there watching you, you know, it's - you do feel a weight. You know, you feel an obligation to not only be - to give the best performance that you can, but to make sure that you represent this person.
It was fun playing a horrible, snotty kid in 'Harry Potter', and then playing Prince Charming where I was also singing and playing guitar, and then playing a completely different character.
When you're playing a real person there's a balance between playing the person in the script and playing the person as he was in life. You have to be respectful and true to who that person was, but at the same time tell the story in the film.
When you're playing a real person, there's a balance between playing the person in the script and playing the person as he was in life. You have to be respectful and true to who that person was, but at the same time tell the story in the film.
What I mostly do is take the script, analyse the hell out of it, see what's in there, see what kind of person I'm dealing with, and then forget I'm playing a father and just play a person who exemplifies all those things.
If you want to do your version, go off and write it. You bring your knowledge to it, and you can use that to shape it and color it, but it's someone else's version of that character. You're not actually playing the real person.
Usually, at the end of a film it's like I've finally gotten to know this person completely, and then we're done. That actually happened on the set of 'Twilight,' and then it happened again on 'New Moon.' Each time my character Bella became a different person, and I got to know that person and take her to the next level.
Usually, at the end of a film it's like I've finally gotten to know this person completely, and then we're done. That actually happened on the set of Twilight, and then it happened again on New Moon. Each time my character Bella became a different person, and I got to know that person and take her to the next level.
The problem I used to have is that I would eat in the morning, get busy training, and then maybe I'd have a shake or two throughout the day, but I wouldn't really eat anything. Then, at night, I would just kind of eat a larger meal or two, but by my second training session, I was usually kind of beat up or worn down.
When I do write, it happens really easily. I'll just kind of sing along to whatever I'm playing, then find a line to build off of, then sit down and write. When I do write, I take care of business!
I actually lost weight by not obsessing. When I crave something I eat it and then I eat healthily, and I don't go: "Oh, I can't eat." It means I don't want to eat too much because I'm letting myself be comfortable with it. It's really interesting. It has worked for me.
I do not invent characters. There they are. That's who they are. That's their nature. They talk and they behave the way they want to behave. I don't have a character behaving one way, then a point comes in the play where the person has to either stay or leave. If I had it plotted that the person leaves, then the person leaves. If that's what the person wants to do. I let the person do what the person wants or has to do at the time of the event.
My way in for photographing people is really their work. I'm always interested in what people make, and then I photograph the person. Sometimes the person is a disappointment. But that's the risk. It informs me a lot about the character of a person if I know their work first.
A cartoon character isn't a specific person. It isn't Tom Cruise or George Clooney playing the part, it's a character that could be you. It's easier for you to get drawn into it in a special way.
If you're playing the a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.
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