Jenny Lewis Quotes

Some actors start with the right shoes. I start with the right hats.

You have to let the costume inform you.

The 'Doom' thing is to be able to come at things with a different point of view. I decided the mask would just add to the mystique of the character as well as make Doom stand out. I though it'd be an easy way for people to see and differentiate between characters, sorta like when an actor gains weight for a role.

For me the visual is just as important as the music. I would never record without my red lipstick. It was my way of getting into character, sort of like Method singing.

I actually love working with accents. I don't know, something about it unlocks something in me. It makes me concentrate on getting into character a little more, helps me find a focus.

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

What is important to me as an actor is that, even if I have to spread my arms, take my shirt off on a mountain top with my heroine in a chiffon sari, it still has to be me and my twist or my funny take on it.

When the OutKast sound changed and I started producing my own records, I would mirror what I thought that character doing that music would look like. As the sound got a little wilder, freakier and funkier, so did the clothes. Then when the sound got more sophisticated, the clothes changed again.

In my early performing days, I played gigs under the pseudonym Whitey McFearsun. I painted my face blue, wore crimson lipstick, and strung on some tight silver latex pants.

I go in and sing the song and arrange it and mix it and that's it. It's no different than playing in clubs.

Dealing with actors is incredibly complex because they oftentimes are like pieces of clay. They want to be told how you want it done. You have to then decide if you want to be the teller or if you want to give them agency.

To me that's part of my working day, and I would never refuse a job where I'm under several hours of makeup, because as an actor, I enjoy performing. It's about the creation of the character and the art to me, not about being comfortable and how long it all takes.

My style is an extension of acting and an outcome of some serious lessons I picked up learning when I did theatre in my early days.

I dress according to the requirement of the film, as a true actor. Off the camera, I'm just me. I have my preferences and my personal style. Before I step out, I look into the mirror just to confirm that my style is intact. Beyond this, it doesn't matter.

As an actor, you're never really in control of the product. I think the goal is to create what you want. And if you can get as close as you can get to the creation of something, it starts with development.

My style is a part of my music. You can't be an artist and not put any thought or effort into the way you appear.

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

Usually, one of the first things I think about when I'm developing a character is what they're wearing. I mean, it sounds very cheesy and very actor-y, but it really does help me figure it out.

I think it always helps when you build a character, and then, you actually step into that character's wardrobe, something else happens. Another angle of the character comes to life.

I don't really compare any of the characters I play; I try to go into them being very open to what the characters can offer and what I can bring to them and then bring a being to life.

I never had a gimmick. All I had was a pair of boots and a pair of tights.

I bring myself innately to it, yeah. I bring those details as much as I - what I don't obsess over is, there are certain ways I might've pushed it even a little more. For example, [to Warren] your accent. I know Warner Bros. at one point came in. I don't know, until you came to set, I know I wore that long tartan skirt and the ruffled blouse for that.

Working with the kind of talent that I've gotten to work with, like the cast of Sin City, it makes me think probably more fully dimensionally about what is going on behind their eyes. But I draw the way I draw, and ain't nothing gonna change that. Although, I draw Marv and I think, "Boy, I could throw a little Mickey [Rourke] in there."

The rehearsal process is the biggest gift you can give to the director and to yourself as an actor because it allows you to shape the character and the scenes.

I listen to music because that's such a huge part of my process; not to sound super pretentious, but that's a big part of what helps me get in character.