Melissa Rauch Quotes

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

You've got to bring yourself to any character you do.

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 believe in method acting. Whenever I'm working on a character, I start behaving like him. I start doing these things which the character would normally do. Maybe that's the way I function as an actor, and I believe in it. And that's how I try and portray a character.

I am trained in theatre, and so I take time to study and get into the skin of a character.

I do enter into character on set, but I can step out of it.

As an actor, I think it's always important to separate yourself from your characters because, when you include yourself in a character, you're taking a liberty that you don't really have unless you're life is that incredibly close to the character.

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.

I don't act in the way other actresses act, in terms of building or creating a character. I don't transform myself into the role, I invest myself in the role.

There are times when I consciously give the character something physical - a walk, the way he sits, how he talks, or his lack of physicality, which is like a physicality.

When preparing a role, I work first on the body language and physical aspects of the performance; the psychological dimension comes naturally once I'm in character.

There are always practical decisions to be made about any character you're playing.

I know, because I tried all sorts of ways of being in character, and the best way is to be totally straight.

I'm a physical actor in that I start with a physical sketch of the character. I find it easier to find inspiration from the outside in. If I find the character's tensions and the way he carries himself or looks, that's going to affect how I talk. So that's how I start to create that person.

Unless it's a specific accent, or something about physicality you have to change, I am generally not such a conscious actor.

If I get the walk of a character, that helps me find them. So I'm constantly looking at airports and train stations, registering walks.

With most British actors, it's amazing. I think they start with the character on the outside and work in.

When I start thinking about a role, I read the script a few times and then let it sink in - and then take some time to develop how that character is going to play out and what he's going to do.

You draw on whatever's relevant to the part you're playing; it makes it more personal.

There's different ways of getting into character. There's what's called 'the outside,' in which is finding the physicality of the character first. To give an example, in 'Gettin' Square' - Johnny Spitieri - that's how I found that character. I knew those people that I'd seen up at Kings Cross. I knew how they sounded.

I've always done method acting. I'm a method actor, and I've done that for years. I never did acting and decided to take it seriously because all the parts people want me to do were playing the pretty role. If I want to play someone pretty, I'll play myself.

I tend to - every time I step onto the set until the time I go back to the hotel, I just try to be in character all the time.

I wouldn't say I'm a Method actor, but there are times where a role will require you to live in their world.

Acting is not just impersonating your character.

You can say to actors that you've got to be the character and really get into it, but you have to make it realistic by bringing an element of yourself into it.