Matt Schulze Quotes

Both 'Udaan' and 'Lootera' were largely rehearsed. With 'Trapped,' I left room for improvisation.

All performances are different. I don't think it's necessary to compare one with another. I am just me playing the role of Lear. You're bound to get a Holm approach to it, whatever that may be. I just got out there and did it. I'm very much a doer in my acting.

Sometimes you don't want to get married too much to a lot of rehearsing, I feel, when it comes to film, because there's so many technicalities. So if I'm in my head, I've gotten settled on something, I'm gonna have to change it if I get there and something was set that's completely different.

I had acting teachers, and one of the things that was encouraged was to keep it fresh, to be spontaneous. That's the magic of film often.

I know there are some actors who are just brilliant at improvising and brilliant at just being in the moment and doing it there and then. I'm not one of those actors.

I've learned by watching films that inspired me and people who inspired me like Robert Redford and Paul Newman. I love old school acting. I love subtlety, and I also love being spontaneous, and that's really what works for me.

I'm a task-oriented actor. A pretender. And I try to invent my process anew each time I make a new project. So I frown on any method.

What I've learned about acting is that it needs to be mysterious. If you overthink how a beat needs to be played, it can trip you up.

I used to pre-rehearse everything and then bring my pre-rehearsed performance to the set. Now, I'm learning to let it happen in the moment. American actors are much better at that than British actors. If I knew how to trust myself, I would have been much more relaxed.

I know I sometimes come across as being quite dismissive about acting. But I'm not. It's like people reading their diaries in public. I don't want to talk about how I create characters. I find it self-indulgent.

Sukumar comes from a very different school of working style. He never shoots with set dialogues and scenes. Most of it is improvised on the spot. He'd tell me, 'Rakul, if this is your character, how would you behave? Show me.'

I think it's a falsehood to think you can have some kind of plan. Acting isn't like that, it's more vocational, I think.

You've got to remember that improvisers are writers and actors and directors all simultaneously. That's what's happening in real time because you're writing on your feet, and you are acting out the words and you are directing what the staging is. You're deciding what staging is.

Actors, their greatest tool, their greatest resource is imagination. You can take things, power objects, you can recruit your dreams, you can access your memories and get there. So the idea is not to act but to just be.

I'm unable to do the thing that Broadway actors do in plays, sometimes for years. The same exact blocking, the same exact lines. I'm a little bit uncomfortable with that. Every night I'm looking for ways to try something else.

Late night is no different than making a film, really, except that it's faster, and if you do a crap one, you can do a better one tomorrow. Writing a novel and doing stand-up - that stuff is very similar.

I'm not a Method actor. I don't believe acting should be psychodrama. I look within myself and see what I can find to play the role with. If I'm playing a blind man, I don't go around blindfolded for days. A lot of good actors would, but I don't go in for that very much. I like to just make it up as I go along.

Part of the fun of acting is the research, finding out about other people.

You don't know what inspires you. You like to think you know what inspires you, but in the final analysis I don't think you really do. It's great to look at a blank sheet of paper, you know, and walk up to an instrument and not know what's gonna happen. It's the most challenging thing I do.

As an actor, our very palette is one of imagination. So it is a walk onto an empty space and then imagine the world beyond it is what we do.

I don't like the actors to work together beforehand. I trust my intuition, and I like when the actors are the same.

I tend not to have any references to anything. I just jump into the script in front of me. If you reference too much, you have no idea if the performances are right.

I never rehearse. Never! I think it's a waste of time.

I always try to stick to the script because I want to respect the writers, and I want to respect the director. But if the director and my fellow actors are okay with me playing with it a little bit, then I definitely want to play with it.

Music is a lot more like solving an intricate puzzle with moments of pure, random creative bliss... whereas painting is much more purely random creative bliss with moments of problem solving.