Romola Garai Quotes

I know a lot of actors talk about the importance of wardrobe, and it always seems like it's kind of a cop-out, maybe, because it seems like a minor detail to some people. But I think it's hugely important.

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.

Once you embody the language, the character comes really naturally, especially when you put the costume on.

Suffice it to say, every actor works differently. Laurence Olivier would put on his costume and when the wardrobe was right, he was in character. That sounds superficial, but it's true, and look at the results.

It's interesting - an actor's research is different to just historian's research. I'm looking for things that I can actually physically use in the movie.

Movement is very important to a character, no matter what period you're working in. So when it came to playing Emma Jung and lacing up in the corset, it was really not a foreign thing for me.

I love doing costumes. The costume is an actor's first line, so it's gotta be right!

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

The right costume determines the character, helps the actor feel who he is, and serves the story.

I'm not a method actor, but I'm affected by the life I share my life with during shooting. It's always a very strange and special period for me.

You have to let the costume inform you.

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.

Any actor would love to just pick up a script and be like, 'I can connect to this person, and I can see myself playing him.'

The bikini scenes in 'Billa' were vital because they showed me as a seductress. I'd like to say here that outfits define a character and help an actor, say, 30 per cent, the rest depends on one's histrionic skills.

I think always as an actor. I go in knowing how I'm going to play it. That's about it.

I guess because I pay so much attention to the physical part of the character, I don't look upon it as like Charlize Theron up there. I don't think of them as like Charlize Theron films.

I never like to refer back to anything I've done when I'm working on a character, even if that character has the same occupation.

The girls in 'Downton Abbey' do what they do so well, which is make it so natural despite the fact that you're living within these constraints and taking so much from the research aspect of it.

Whenever I switch from one character to another, there's always a few days where I really struggle because I'm changing voices and I'm changing ways of looking at the world. I'm not just flicking a switch; it's harder process than that.

In every character you play, as much as you hate to admit it as an actor, but there's an element of you that you bring to it.

When you start out on a project as an actor, you know, you approach the character from the standpoint of maybe writing a list - even if it's a mental list that you make - of the adjectives that the character has or that character possesses.

It's fun to play the character and then watch him later.

Actors have an unusual perspective on clothing. You've really got to know the impact of what you're wearing on the character you're playing.

There were episodes where I would wear seven or eight outfits. It took a lot of time to get those together. What the character wears is very essential to how I create the character.

I do tend to play characters that have a lot of costume and hair change. I sort of like the change of physicality thing.