Christian Camargo Quotes

It was important to have a similar energy in my performance. To make the character too different would have just been about my ego because it didn't need to be drastically different.

For me, what matters is who are you working with, what you are working on, and when all that fits naturally, I let it go. Then, I don't care if it is bold or if it needs me to be uninhibited. I just want the role that I am playing to come out the way it should.

When you have the cast, the sets, the lights, an opera takes on its own life. I'm not one of those directors who marches in with a set of plans.

I don't feel that I have to control every aspect of things that I appear in. You learn a lot performing someone else's writing.

I'm actually one who will encourage directors to cut my lines.

To me, one of the things I love about being an actor is that it's never done; it's never perfect, and so it's the process. It's like practicing being okay with things not being perfect and things being outside of your control.

I never try to show an actor what to do or what to say. He has to find out for himself. The role of the director is to guide him to that state, and then to implement it.

I don't come in with any preconceived ideas, and although I will have done some preparation, I can go which way the director wants.

You need to be open and explore while heading where you want to go. You can never be too in love with your own ideas. If you can remember every idea that is yours in a script, as opposed to someone else's, then something is wrong.

That's kind of the fun part about acting. We do get the right to kind of get from A to Z any way we want, as long as we start at A and end at Z.

The best script in the world doesn't work perfectly when you actually act it out. That's a law. That's a given. So you have to play with everything. And the more fun you have with it, the better the finished product.

I don't make the distinction between whether or not I'm going to do a TV show or movies. It's all based on material. It's about whatever comes along that I think I can add the most to, bring something to the character, and have some fun with.

Auditioning is so different than doing the work in some ways. It's very much about solving the scene, I think, and coming in with a strong take, but not having it set in stone.

A leader who listens is one who is malleable and willing to refine her views and actions as she learns new information or hears a better idea.

As an actor, you buy into someone else's dream and make it your own, and you don't lose sight of that.

The worst thing when you're working is to say, 'I have a question,' and the other person goes, 'No! This is what it is.' That kind of rigidity is very challenging because musicals are constantly mutating.

For me, you have to do as much work as you can beforehand and, once you get on stage or set, throw it out the window because you need to be collaborative. You shouldn't have too many ideas about where it goes before you get into the room with the director and other actors.

As an actor, I go with the flow.

My job is really to... everyone is reading the script, and my job is to make sure we all interpret it in as much the same way as possible. And then I give them the freedom to sort of - to get their performance across and then make suggestions where things are not working and accentuate and push things where they really are working.

Every actor believes in his way of performing.

I wanted to be open. On the last project, "Affection," I co-wrote everything. Sometimes, I think, it's smart to step away and be open.

An actor who's a control freak, that doesn't work. We have to be malleable. We cannot come in and try to control or dominate.

When you work with an actor and then you discover new things that are better, I think you gotta be free to be able to go with the new things that you're finding. I think that's very important. I have a strong idea when I go to shoot a movie but I also love to discover things when I'm on set as well.

What makes people and companies and artistic directors and choreographers interested in working with dancers is the ability to kind of let go of everything you think you know and be a blank canvas.

I have to be more universal than my projects, but no less innovative.