A Quote by Toby Stephens
Screen is satisfying because it's so technical and mysterious. It's like playing roulette: you get a script, you think it's either great or naff, but you have no idea how it will really turn out. On stage, you are your own editor - and you get brief moments of grace, where suddenly you feel free.
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Americans have a hard time writing moms. I'll get a script and everything's really great and well-drawn, but the mom is like stock footage, they go and get that out. They plug it in, this idea of "mother." You could lift moms out of any script, no matter what the culture, what the neighborhood, what the economic status, and you could switch them around, and they'd be the same person. I think it's because most people don't really have a human idea, a specific life that they attach to who their mother was. Their mother was there for them, so it either gets deified, or the opposite.
I always thought the editor should cut the film and so I'll come in and look at the movie. Just because that's the only way I can really see the ideas of the editor, it's really working together. Yes it's a hierarchy, yes I'm the boss, but I like to see and to think about the idea, and it's about us asking, 'do we have to say that?' and, 'how do we make it there?' So it's advising the editor, it's very give and take, it's very free, but in the end, it's wonderful once you get through the first couple of cuts.
No one can stop a home run. No one can understand what it really is, unless you have felt it in your own hands and body. As the ball makes its high, long arc beyond the playing field, the diamond and the stands suddenly belong to one man. In that brief, brief time, you are free of all demands and complications.
Stage is the ultimate test; I like watching established screen actors on stage to see if they can really do it. But it's great to have a healthy mixture of the two. Film is so technical: there's something very particular about the relationship between you and the camera. It took a long time for me to get good on film.
I think Memento movie was hard because people didn't get it, they just didn't understand it. Not from the stage when we read the script and liked it. It's sort of a famous story now how we finished the movie and showed it to distributors and nobody wanted it. So it wasn't just they didn't get the script, they really didn't even understand the movie when it was done. But I think that was a particularly hard one. I don't think it was harder because we were girls, but I do think obviously there are particular challenges to working in a male-dominated industry.
Over the course of a day, you get to get a feel for where you're playing, so when you get out on stage, you already feel like you've had a bit of a bonding experience with them.
[Photographer Julian Wasser] had this great idea that I should play chess naked with Marcel Duchamp and it seem to be such a great idea that it was just like the best idea I'd ever heard in my life. It was like a great idea. I mean, it was - Not only was it vengeance, it was art, and it was, like, a great idea. And even if it didn't get any vengeance, it would still turn out okay with me because, you know, I would be sort of immortalized.
I think, initially, working on your own is really great because it allows you to just be really free and not worry about how things are perceived or if people are going to think you're an idiot. And once that becomes ingrained, at least for me, I think I'll feel really comfortable to work with other people and still feel that same freedom.
You would not hang out with people that talk to you the way you talk to yourself. So get out of your head! Your feelings! Your feelings are screwing you! I don't care how you feel! I care about what you want! And if you listen to how you feel, when it comes to what you want - you will not get it. Because you will never feel like it.
When someone has too much of a thought-out idea, that can be a big obstacle to get anywhere. Because it's like [if] you have a preconceived idea of what's going to happen in the studio in an hour's time, then you're not free anymore and you lock yourself into your own expectations. I don't think that's very creative. It doesn't work well with me.
I would always choose the script. You get more creative control that way. But, when you're in a situation like this, where everyone is really funny and you really want to do it, that's the chance of a lifetime, so you want to do it. But, a script has longer legs than a performance and, in the end, is more satisfying. It's harder, but it's more satisfying.
Small screen or big screen my job on set doesn't really change. The only difference with TV is I get to be surprised with new information just like the audience every time I get a script.
I've met so many amazing fans in the couple of weeks since the release of my second album, and everyone keeps telling me they feel so connected to the record. I think as an artist, all you really want out of your album is to feel like you're not alone.Because you wrote it for a reason. You wrote it because you're feeling some kind of emotion that you had to get out in the world. And if fans say, "that makes me feel like I'm not alone", then you get to say back to them, "Well, you telling me that makes me feel like I'm not alone either".
I wrote [Collateral Beauty] on my own. I didn't get paid to write it. I didn't sell it as a pitch. It was an idea I had that I really, really felt needed to be in script form before showing it to anyone in the industry because of the uniqueness of the idea, and the weirdness of the idea, to be frank.
I can't tell you how satisfying it is to have something that is your own idea get produced and then become successful.
I think if you feel weird and self-conscious about that kind of stuff - which happened to me at some points - that means your ego is really kicking in. You can understand how people get to be assholes in music business because it's like you're getting pumped full of your own thing so much, you get ungrounded. That's a dangerous place to be.
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