Claire Foy Quotes

As an actor, you think you know your craft, you know the conflicts in your character, but often you don't.

My preparation is mainly just knowing the lines and getting in and knowing where your character is, knowing what it's about and having ideas that you can put in on the day.

Now there are certain things you have to prepare - like dialect and special skills. But in the moment, interaction between two characters on the page doesn't need - for me, I don't need to prepare that.

As a filmmaker I find it much more rewarding to work with actors who are classically trained. It's about the work and only the work.

I do not use any set methods, not even The Method. The character after all is in the lines.

I do my independent stuff where it's real acting if you like. Intense, drama stuff. I love me actions.

You know, I've never been much of a method actor. I feel like, with every project I go in extremely prepared and I like to have a good time.

My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.

One of my main techniques for acting is I try to know almost nothing beyond the words that I have to say, because that's my zone of control.

I don't really prepare for each role the same way.

I demanded two weeks of rehearsal because to me as an actor, that's the most important time.

Most of my training at graduate school was geared towards drama, so I feel good about it, and I can do it, but it requires a lot more work from me. I feel like with drama... well, with all acting, really, you need to honor the truth of the situation.

With any actor, if you know your character well enough, you'll know pretty much what he would say under any circumstance, or whatever situation might rear its head.

People think memorizing lines is hard, when that's the last thing you worry about. You get that done, and then you've got to worry about the internal stuff, which is the challenging part.

I like to have something to base a role on.

The thrill of acting is the discovery part, so it all changes, but it has to change in a way that fits what is written. You can't just wander off and get interested in your own tangent.

I think I approach everything as an actor first. I'd rather walk onto a set and just act and just worry about that.

Actors are terrible at overthinking things before they turn up to work, and they decide on a way they're going to do it, and then it's hard to break them out of it.

In acting, one should look at the film in totality. Improvisations should only be made keeping in mind the limits of a character. Always believe in team work.

You make a decision whether you just work on the script and believe in every moment and pick out every moment, or if you sit down and memorize lines. Once you really dig into a script, learning lines becomes almost second nature.

There's pre-production, and the second part is when you start rehearsal. Pre-production was a very large learning curve for me.

I never do any research for my roles.

The experience with 'The Knick' is a singular experience. That experience taught me a lot about acting and about being on camera for extended periods of time to try to create a character arc that travels.

I would like to portray something that would challenge the actor in me.

Actresses cannot have any inhibitions while portraying bold characters. It is something that we learn on the first page of the book on acting.