Mahershala Ali Quotes

I'm not an actor who approaches films doing a lot of research. I do zero research, unless it's a film where I'm playing a mock version of someone who already existed. Then, you've got to do a lot of research.

Once I'm committed to a role, I will go very deep into it, even when I'm not at work. I'll keep on studying the script, maybe 40 or 50 times. I might call a scriptwriter at three in the morning to say I've thought of something new.

I think substitution is a huge part of acting, but I don't personalise my work that much.

I once did a role which I couldn't rehearse in my street clothes, I had to have the character's costume on before I could rehearse it. I just couldn't think as the character unless I looked like him, or I knew that I looked like him.

I find that I kind of have to sink into the character.

I don't prepare myself for any character unless it is really different.

I think, for every actor, the most challenging part of playing a character, specially a real-life character, is to convince yourself that you are the character.

The approach to acting is always the same, you try to figure who the guy is and then you try to transition your way into his way of thinking and moving through the world. The rest of it is just accoutrements, you don't play the makeup, you play the guy. If you're not wearing makeup, you just play the guy.

The first thing, the main thing, about how I work is I need to understand the character.

The art of acting presupposes three phases: understanding a part, intuiting a part, and contemplating the essence of a part.

It's fashionable for modern actors to talk about getting 'inside' a character. But you can't get to the inside without getting the outside right first.

How you prepare for a role is entirely your business in my point of view. There is little enough mystery anymore left in the world in the part of our profession, which should be clouded in mystery because it isn't in the public. You don't want the magician to show his tricks or how he did them do you? So I do think that is a very private thing that we actors should protect ourselves from.

As an actor, you're used to putting on characters, taking them off, becoming someone else, doing your research, and working on that.

Some actors might just do one thing, and another actor does another thing. I do an awful lot of preparation with the script, really. What I do is repeat the script, over and over and over again. Through that, it's almost like it seeps into my enamel. I'm reading all the characters, as well as my own. That is where the bulk of my preparation goes into.

I just thinks it's interesting what it takes an actor to find their characters through the wardrobe, or the hair, or the way a character walks.

In television or a movie I bring my own ego and consequently can mess up. In the theatre I learnt very quickly to shut up and listen. Now I am able to get out of my own way.

I didn't drop into the mannerisms of another version of the character, but I guess I was pretty alert to that.

One of the first roles I had on stage was with a brilliant director in a brilliant play with a brilliant cast, but I just couldn't find my way into the heart of the character. I found myself straining a lot. When it started. I felt lost. That was the Eugène Ionesco play Rhinoceros. I don't think I was prepared for that. I don't think I had the full tool kit to do it justice. It's a very difficult play, it's an extraordinarily difficult part, and I never felt I really got it right. Far from it. To a degree, Hamlet was the same.

I come down as an actor and my marks are already laid out on the floor - somebody else organized what I'm going to do. I think, why am I here? And why I'm here is to express the words with some sort of vague emotion and make them seem real. I wanted to go back to how it was before.

The reason I trained so hard in school was so that I could be versatile and play any character. With all these in my bag, I'm like a chameleon. I always tell other young actors to go to school, or at least watch movies to learn as much as you can.

It is an actor's passion to observe the world. It is his art to become what he observes. And finally, it is his job to let the world observe him.

As actors we're supposed to be our character's advocate.

All my roles are character roles. On the other hand, there are those people who have an inner...I think we all do the same thing. You can't get by on aura alone. That I know. Everyone has to dig in. Everyone has to do the same set of, "What is this about? What is this character doing?" Everybody from Spencer Tracy to Brad Pitt to Jeffrey Tambor.

Emma Watson was saying the other day that when Helena Bonham Carter was becoming Hermione, or trying to become her for the polyjuice-potion sequence, she was trying to take on Emma's mannerisms, and she was asking Emma questions like, "What's Hermione's favorite color?" Because she wanted to absorb all this information and to know, in here touches temple what she was like. And as I've tried to develop as an actor, I see that these things, however much they seem insignificant... By knowing what's Neville's Longbottom favorite Beatles song, you can know so much!

Working on camera is a different ballgame in the sense that it's far more intimate work, but the basics and the foundations of being able to create something that isn't necessarily your own instincts - is a character that you have inside your head - whether you're talking about television or film or theater, that still has to be the grounding work.