A Quote by Steve Coogan
I always find it easier to portray myself as being unlikeable and idiotic; to actually play a character that is likeable and engages the audience is far more difficult. It's a more subtle kind of challenge.
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There is a line that I always loved from Lucretius. He said, "The sublime is the art of exchanging easier for more difficult pleasures." The presumption of that formulation is that the more difficult pleasures are actually better than the easier pleasures. That is why one makes the exchange.
Richard III is not likeable. Macbeth is not likeable. Hamlet is not likeable. And yet you can't take your eyes off them. I'm far more interested in that than I am in any sort of likeability.
You have to be brave and not always play likeable people. It's difficult, because there's a demand for the hero or heroine to be very likeable.
I find that when I get casual in my relationships with divinity and when it seems that no divine ear is listening and no divine voice is speaking, that I am far, far away. If I immerse myself in the scriptures the distance narrows and the spirituality returns. I find myself loving more intensely those whom I must love with all my heart and mind and strength, and loving them more, I find it easier to abide their counsel.
Being a dramatic character was more difficult for me. It was a new thing that I explored because it was challenging. But I love to challenge myself and different things.
It is definitely a challenge to play Nathan, but the more different he is from myself, the more interesting the character becomes for me.
I seek a diverse spectrum of roles. If I just was in a large-budget feature for a younger audience, then I want to find a smaller, more character-driven piece that might be for a more mature audience. Or if I'm playing a goofier character, then maybe I want to go play a serious, psychopathic character. But at the same time, it's usually a case-by-case basis where I'm judging the merit of a role by the script I'm given, and it usually has less to do with the larger framework and more to do with how the part personally appeals to me in that moment.
When you get free from certain fixed concepts of the way the world is, you find it is far more subtle, and far more miraculous, than you thought it was.
Believing is easier than thinking; that's why there will always be more believers than thinkers. However, the results of god-belief are often far more mental trials than those of nonbelief. It is quite difficult to ascertain the wishes of an invisible being.
Early on it was much easier to play leads, but now independent movies are being co-opted by the studio system, and they want bigger names to guarantee more audience and more numbers.
I always try to bring a little bit of my own personality to the character, or some sort of personal connection makes it a little bit more of an organic portrayal and the audience can kind of maybe believe it a little bit more. But I always look for something to kind of connect with and identify with, or bring something of myself to the table.
It's a challenge of to write a narrator who is doing something that is really unlikeable and morally questionable. A lot of times, you read a book because you like the character, you are cheering for the character; you want the best for the character.
I cannot tell you that I am 100-percent comfortable, but for sure I am more confident of my goals, because I know what I can expect from this kind of event. At the beginning, everything was a mysterious, far-from-me world, and now it's more accessible. Of course, exposing myself is always very difficult. I cannot say that I'm a shy person, but I don't see myself as a superstar. I will never see myself like that.
Try vegetarianism and you will be surprised: meditation becomes far easier. Love becomes more subtle, loses its grossness — becomes more sensitive but less sensuous, becomes more prayerful and less sexual. And your body also starts taking on a different vibe. You become more graceful, softer, more feminine, less aggressive, more receptive.
I needed to create some dramatic tension to sustain the interest of the audience. For instance, the boy in the film is not in the play, so this relationship that he had with the former teacher, and his guilt, this is not at all in the play. I thought it would be interesting to look at in the film, and I added stuff like that around the main character. For me, it was not more difficult or less difficult.
As I get older, I'm more willing to take on more, I guess. I feel more comfortable kind of being different characters and kind of stretching it a little more. Like with The Visitation. At least for me, being an actor, I have to draw from human experiences, so it was kind of a stretch playing that role. Kind of supernatural... kind of like what I did in The Crow actually.
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