Everyone working on 'Tyrant' wants to present the world and the issues in it in an intelligent, open, fair, non-reductive kind of way. For the actors, we have to try and make these stories as truthful and compelling as possible.
I was always interested in it when I was younger, but it was when I was at university, getting together with other like-minded theatrically inclined types, that I admitted to myself that I wanted to be an actor.
I like my films to have a certain amount of realism - something that's thought provoking and intelligently written. More than the amount on the pay cheque, I look for a level of respectability as an actor.
I was just a young guy who was excited to become a comedian and an actor and I just wanted to get to do what I got to do.
I wasn't like a Hollywood child actor - 'I'm five! I can sing, I can dance, I can act! I wanna be a star!'
I was not able to understand how it could be right to pay an actor, or a singer, or an instrumentalist for entertaining the public and wrong to pay a ball player for doing exactly the same thing.
I am a private person; I think that's important if you're an actor. But there's a difference between privacy and secrecy, and I'm not a secretive person.
Performance capture is a tool that young actors will need in the next 10, 20 years. It's on the increase, as you say. It's not going away.
In performance capture roles, it's not a committee of animators that author the role, it's the actor. I think that's a significant thing for people to understand.
You hang around actors, or dancers, the minute you sneeze, everybody has a remedy, and we're all on a million different kinds of diets, and different kinds of things that we do for exercise.
There's a difference between knowing what to do when you're rehearsing it, and being able to do it once you're adrenalized and emotional. That's when the injuries occur. Actors all want to try to pretend that they're experts at everything, but we're ...
If I could, I want to take a page from the George Clooney-like actors of the world. They do things that are relevant, things that don't necessarily have huge box office appeal, but they matter.
As an actress, I always felt like the people you met on set were interchangeable with the people you met on other sets - the grips, the gaffers, the actors, the directors - everybody steps into their role.
The average actor might only be able to book six to eight guest star jobs a year - that would be high. So when you start doing the math, you can't live on that in Los Angeles.
In politics, it's very theatrical. There's a lot of stage craft. The campaign is trying to tell a story that they want people to believe in, and candidates are playing the role, like actors, by a creative personae that people will be attracted to.
I became active in politics because I saw the possibility, if we all sat back and did nothing, of a world in which there would no longer be any stages for actors to act on.
I do not believe that artists or actors and people should be out there like voicing their full-blown opinions on politics because, let's face it, at the end of the day, I'm not that smart of a guy.
A lot of times, actors give so much power to the producers and the producing companies because, quite frankly, they have it. But we don't take the limited power that we have, which the power you initially have is to say 'no.' But 'no' in a positive w...
If you feel uncomfortable on stage, you can very easily descend into a sort of abyss, convinced you're the worst actor ever, that you're a disgrace to the profession, that you're a disgrace to yourself. It's an awful feeling.
If you're going to play a villain, there's no greater compliment than being told that you give people nightmares. I never thought I would be the actor that would give people nightmares.
I don't think a lot of actors talk about it, but there's usually a process where you essentially purge yourself of the character that you played prior to the movie.
