Sarah Gadon Quotes

A lot of actors like to get themselves worked up, and I think from what I saw from Mr. Redford, he goes the other way. He relaxes into it.

It was really fun to play a period piece because I've never done that before and it's completely different.

I'm a technician. I don't go for the get-into-the-role stuff. I read the lines and play the scenes.

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

In choosing any role, I ask the same questions: what kind of part is it? is the role challenging? does the director have a vision? is the story moving? etc.

It's what I learn from the great actors that I work with. Stillness. That's all and that's the hardest thing.

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

I got my training here in Chicago at the Goodman School Of Drama, and a lot of my personal work is usually internal work and stuff. Everything else that goes on is icing on the cake - your wardrobe, your makeup, whatever else you have to do.

And that's one thing that helps me is I learn it blandly, vanilla, then I don't try to act it too soon because you start to act it, and you kind of go away from what the next sentence is, what the next paragraph is. So get it down so it kind of can - it's in there so you can then, as I call it, dance on top of it.

I'm not a method actor, but I'm a big research kind of actor.

Basically, the way you get into any role is just doing research on the type of character you're playing.

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

I know a lot of actors who get a part and then they dissect it and they want to change it and they want to add stuff. I'm always amazed and so impressed by actors who do that.

I've done a few costume dramas, and people say, 'What was it like wearing the costumes? Did they really help you with your character?,' and most of the time it doesn't make any difference. You're wearing something a bit weird, and it's sort of uncomfortable, but it doesn't really have a huge impact on the part that you're playing.

I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.

I'm not really into method acting - the way I was taught was the good old-fashioned British way of just doing your research and getting on with it.

Simply, if you're working with good material, then it's right there, and you don't have to try so hard as an actor; you don't have to do so much. Just let the material sit inside you and let it come out. Just say the words. That was the main thing that I learned from doing Aaron Sorkin's work - say the words, and everything else will happen.

I really think that effective acting has to do literally with the movement of molecules.

Every role sort of teaches you how to prepare for it.

I like to have something to base a role on.

I like to rehearse. We did a lot of rehearsals for 'Moneyball,' but it is really individual to the actor. It's not like, 'Here is my process, everybody. Fit in.'

Honestly, soaps are great training. You're doing 90-plus pages a day. It was my acting class, where I built my foundation for showing up and being professional.

I find that the work I do as an actor that's most challenging commands an athleticism or, certainly, a physicality. And also a rigor, a physical rigor.

It's part of the actor's job to show up with a head full of steam, to have their own take on this. So that way, you're not relying on, 'OK, tell me how to do 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.