Antje Traue Quotes

I don't really ever think about whether or not I like the characters I'm playing. I'm more into the minutiae of their behaviour or what they're doing in a certain scene.

When I get a role, I try to delve as deeply as possible into the character.

Every actor turns everything round to their character.

If I prepare myself for a character, for a role, I always try to understand her.

I think that different actors go about their preparation differently, but when it comes to acting, I use my imagination.

I am attracted to the complexities and deeper truths of characters, and I can't name a favourite role any more than I can name a favourite food!

For me really good acting is about subtext.

I've always been interested in character-driven pieces, and my approach to directing is through acting.

Acting is kind of difficult to intellectualize - it's a far more visceral experience. It's really hard to be able to think about and then employ these kind of esoteric notions of this person's backstory and try to weave it in somehow. It's just kind of impossible.

When you watch it, you're like, Wow. I look like that. But it doesn't feel like that at all. It was about communicating with Gale Harold and getting across what I wanted to say about the character.

As an actress, it appeals to me because I love the idea of playing those in-between moments, the sort of behavioral stuff that one might not normally see.

Same job, whether it's comedy or drama. Regardless of the weight of the role, I feel like the job is always kind of the same. Who is this person? What's this guy here, and how is he playing with this thing, and what's he trying to say? And what's the volley with all these other people around him?

The closer a part is to you, the harder it is to play. Anything else is just imitation. If I'm playing a Russian countess, I get the hat, the accent, the outrageousness. Easy. Playing a murderess? Perfect.

As an actor, you want to be able to move your character forward into new ground, but also it's really interesting to go backwards and unpeel those layers and the interesting elements of what your character is and what informs the decisions that you make so that you can have as much meat to work with.

My job as the actress playing Hanna Schmitz, as the actress playing any part, is to understand the character, and to ultimately love the character. And I did love Hanna, absolutely, because I understood her as profoundly as I did at the end of the day.

When I look at a character, whether he's good or bad, one scene or 10 scenes, I just have to find my way in.

A script narration is like watching a film, and I react to it like an audience with my own instinct. After that, I look for what is my character, what will I bring to the table in that role, how challenging will it be.

As an actor, you work to the script: that's our main priority. But you have to be aware and look around for things that help you bring that little bit extra, that touch of realism that rams the point home.

I always approach any character I do as being right.

I have always been attracted to good scripts and try hard to make characters as believable as possible. That means trying to figure out how they would react to situations, what they eat, think, and feel.

To me, great writing - and when you can really make something wonderful out of it as an actor - is when your character has a sense of self-awareness. It doesn't necessarily have to arc. It doesn't have to grow.

I just did what the script demanded from me in 'Uyir.' I felt it was indeed a challenging role for me.

When we watch a film as actors, you have to understand that we always see much more than what's on screen.

When a director narrates a character, I find it normal to ask questions about the character's background, mood swings, eccentricities, behaviour... I do this to make my performance relatable. Directors who don't know their characters well find it difficult to answer these questions and, hence, find me annoying.

From an acting point of view you need to look at what you're bringing in.