I think by eighth grade I knew I wanted to be an actor. I'd done church plays and stuff, but my first actual acting class was in eighth grade. I was obsessed with it.
I consider myself absolutely a character actor, and that's what I want as a career. I don't need to be the lead star or any of that, as long as I'm doing stuff that I'm proud of, really.
When I'm shooting, I don't care who the star is. I have an actor playing a part, and I'm serving the script, not serving anyone's career.
There's nothing more exciting as an actor than getting to do something that you're not entirely sure that anyone would let you do, and getting to take a big jump in a completely different direction.
I believe, and this is perhaps too nationalistic a view, that the American style of acting puts actors quickly in touch with each other, so that their continuous presence in a company, as in England, is not absolutely necessary.
I think any actor would agree that you can't replace theater. It's immediate. You have the energy of the crowd and every single night it's different.
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.
