Genevieve Bujold Quotes

My process is I try to learn my lines so they're so solid I don't have to think about them or how I'm going to say them.

As soon as I have the script in my hand, I'll be up in my apartment room pacing up and down learning it because it's just such a lovely thing to do.

I don't like to intellectualize about my acting. I don't sit around and study the pages of a script over and over again.

I'll read a script maybe twice, but I'll think about the role more than I'll rehearse lines.

Sometimes you do complete run-throughs of scenes, sometimes you break scenes down into little bits. It just depends on what the actors like to do. It's almost like jamming.

There are two schools of thought: There are those actors who explain to you that they know exactly how they're going to do the part... And then there is the other method, which is to have no method at all. This is mine.

What I do is just go over and over and over my lines and learn the script so well that I can just be easy and relaxed. That's the way I always work.

I never practice before, I never work hours on a script. I just choose my characters and trust them, and after that, it's about the director taking your hand.

Actors make choices for different reasons.

I figure out who I'm playing opposite, and I really do study them.

Doing the long lines - it looks easy when actresses do it: they just say it straight up, looks like they do nothing wrong, they just keep going, but it's not like that.

A different script calls for different things. It always takes me a long time to get to know the part, and know the logic behind the words. I have to be with the script for quite a long time before things start to fall into place, before they become part of the character.

Before shooting, I prepare with the actors much more like it's a theater play than a movie. Apparently, that way of working is very unusual.

For me and for I'm sure any actor, each role is a different challenge to prepare for in a different way.

As an actor you make choices that are either right or wrong, and you find the ones that are right for you. As an understudy, the choices have been made, so you have to make those choices right. Going into the role, you can't really question it.

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.

The process of rehearsal means you learn so much and really get the chance to develop your work on a character.

I don't do rehearsal. Some directors prefer to do rehearsal - readings before the actual shooting - but I don't like this process because I think there are certain things that are so spontaneous, and they cannot happen twice.

I'm just thinking I'm just like a normal actor who gets scripts, and I read them, and... if I enjoy reading them, then that's what's exciting, then I get excited about the audition or the project itself.

People always ask about learning all of your lines as an actor, and it's generally the easiest part of the job.

I've approached every character I've ever played with a poem, first and foremost.

I'm not really a guy who draws on things from my own past. I think if you're a competent actor with a good imagination, and if it's on the page, it makes your job a lot easier. If it's well written, it allows your imagination to run wild and draw inspiration from that.

Acting is a symbiotic process, it is an amalgamation of many many things put together and when there is a call for action, that's when you surrender and the moment of truth comes out, that's when you perform. That is the process for every good actor.

Whenever I read a script, I don't differentiate between a kissing scene or an emotional scene.

When I'm given a role, I'm consumed by a passion to bring to life a character that exists only on paper. I mull over the character for days and internalise his feelings.