Jordin Sparks Quotes

In theater, the wellspring of the character comes from the doing of it, like a trial by fire, but in front of an audience.

The next day I was in my school's production of All My Sons. This was the performance where I realized something was happening between me and the audience that I hadn't recognized before.

A strange thing happens to me that I'm sure happens to a lot of actors when the camera starts rolling. I'm not 'me' any more.

I'm always happier and a better actor when I can really lose myself in a character and become somebody else.

I have to believe in the character to perform it.

I always panic on the first day of work. You can do all the Stanislavsky-backstory homework, but when that moment arrives and you are in the clothes, hair, and makeup of somebody else, and you're saying the words created by somebody else - I never know how to do it. It's a complete mystery to me.

I started off doing theater as a kid, and I always played a character. I hid behind the script and was told where to go. But to actually perform as yourself is very difficult. I didn't used to enjoy it, but now I do.

I don't ever recall being nervous before performing because I've already stepped into the shoes and the clothes of the character.

I was five years old; I got addicted to being on stage. I felt like it was the most wonderful place on Earth, performing in front of an audience, who in this case were a bunch of classmates, kids my age.

I can't imagine anything more debilitating, anything more challenging, anything more thrilling than to get on a stage and do any kind of play. It is such a vulnerable place for any actor to be in.

As a young performer, I didn't know that you can have a great time playing someone in terrible crisis. The more you know it's not real, the deeper you can go into it. And the easier it is to let it go when it's done.

I never act my characters - I am them.

A stage actor has to be 10% aware of the audience as he's performing.

When I act, a part of me goes into the character I am playing.

That's always something that's really important for an actor - to find an opportunity to do a scene where there is a moment like that, where you manage to connect with everyone.

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

I don't mind a little Sturm und Drang. When I was doing 'Riding in Cars With Boys,' I wouldn't smile at anybody, because my character, Bev, was angry at the world. I'm the opposite. Inside my head I'd be like, God, I'll explain to you at the end of shooting that I'm not this person.

To disappear your complete self into a character is quite difficult. I've tried it 85 times, and I've succeeded two or three times.

There's a lot of romanticisation of the intuitive actor and method acting and all kinds of notions about getting inside a character and coming out from there.

On the whole, actors shout when they don't know what they're doing, trying to make an impact.

Actors pull from their own experiences to bring reality to the characters. I wouldn't want to play someone who's a lot like me. There would be no turning it on or off.

Well, as you know, I'm really only happy when I'm on stage.

When you have to get into the character each morning, give it your voice, your face, it was torture.

All I have to do is be me on stage. But acting, I have to be someone else, and walk how they would walk and blink how they would blink. I used to talk about it bad like, 'Aw man, that person made $10 million a movie?' But now I understand why they do. I get it now.

I don't believe actors who say they don't bleed into their characters. It's absolutely impossible not to.