Florenz Ziegfeld Quotes

I didn't have to audition. That's common, but it had never happened to me before. Normally, I hate auditioning. I need to stew and think... let the character develop and grow inside me.

I love shooting, when the character is interesting and the script is interesting, but the research beforehand is really fun. The whole process makes me anxious and restless, and I have trouble sleeping, just trying to figure out the character.

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

Preparing for roles sounds so academic, doesn't it? It feels as if you are preparing for an examination! In a creative medium, the preparation is of an entirely different kind, and for me, the ideas flow from the script itself.

For any role, I pretty much always go to the script, first and foremost.

When I am rehearsing for a play, I try to read nothing that might distract my concentration from the work in progress.

I'm the sort of actor who likes to talk about what we're going to do.

I think that different actors go about their preparation differently, but when it comes to acting, I use my imagination.

I've never committed to a role without a script.

When I attack a role, be it TV, film or stage, the first thing I say is, I don't want to know anything. If it's good I don't want to hear it; if it's bad I don't want to hear it. The only thing either thing can do is distract me. I like to stay focused.

Acting is an imaginative leap, really, isn't it? And imaginations prosper in different circumstances.

I work a lot; I love to compose, ponder, and take notes when preparing for a role. I cut all the scenes, collate the images, form the character and shape its personality, then I make meticulous notes and transcribe each scene on my notebook.

As an actress, you have to give your character a life, a history, and make it full and rich for yourself.

I take my time to get into the mindset of the character and say my lines. I really have to be the person that I am playing.

If a script is good, you are 10 steps into the part just reading it. But my choices are not all down to my taste. It is about people you have worked with before.

The director, of course, was Bob Fosse. But again, I worked with my father to prepare for the role.

When you're shooting you go to references in your mind. You think about how you should stand in these particular clothes, or how you should move. You think about the different characters you're playing, really.

Acting is contained - you act for three months, then leave it - but writing is the act of creation. Writing is dangerous.

I'm not a huge kind of visual director. For me, it's all about the acting. There's no greater buzz than working with actors and seeing what they can do and how much they can improve on what you'd written. That will always be on the top of my list. It's a real privilege to see it live before anyone else sees it.

I want to be on the screen, I want to play dress up every day, I want be different people, I want to have fun, and I want to use my imagination.

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

The very first proper play I did was 'Godspell,' and I played the guitar for it, and I had a small part in a high school play. And before that, in sixth grade, I wrote a musical about Noah's ark.

I know what I love about acting - and it's the creative process.

I don't know if I do anything to get into character: I just go with my gut.

When I got to the reading all the work, I was reduced to being an actor in an experimental play that I'd already written. And I didn't want to be an actor.