Kim Dickens Quotes

I think I can work with any type of actor.

I've been on projects before where there's no rehearsal, and you walk in on set and that's literally the first time you've ever played the character, and then I've had times where there's been three weeks of rehearsal. I like both.

I am a complete director's actor.

As an actor, I like as much time with the material as possible and given the opportunity, time spent with the other actors in the scene. But that is a rare luxury in working in any TV series.

Being multi-disciplined is always a good thing.

It's my job as a supporting actor - which I usually am - to support the film: to make 1, 2, or 3 on the call sheet look good.

As actors, we want to choose somebody who has conflicts. I can't be always playing the girl next door. What's the challenge in that?

I like working with different directors; it keeps you on your toes.

I find that on serialized television it's wiser to hit the ground and look forward, and take the cues from the writers and the events happening, otherwise you just tie yourself in knots.

But I also wanted to give them an intelligent emotional journey, without having to suspend reality - to be able to look at those characters and see reasons for the relationships and why what happens happens.

It's really about, oh come on, this guy wouldn't say that or he wouldn't do that, you know, it's about the characters, about the story, about the situation.

The best thing an actor can be is flexible, because all directors are different and all actors are different.

I don't need all that much - I just need to know who my characters are and what kind of jam they're going to get into, and I'll write myself out of their jam.

On 'Supergirl,' there are huge characters with huge mythologies behind them. What's important is that you don't lock yourself into something.

Something that 'Game of Thrones' always does successfully is that action sequences are never just action sequences. There's always a point of view, and you're always identifying with one person or one group of people.

When I'm working in television, I've learned you've got to work fast. You don't have time to rehearse; you don't have time to just mess around. You've got to move quickly. So I pick that up from that world, and I also pick up the idea of development of character and development of situations.

I always approach every play based on the cast. When Denzel and I did 'Fences,' I didn't go to rehearsals and say, 'OK, James Earl Jones did a wonderful job in '87. Let me see if you can come close to James Earl Jones.'

Characterisation is more important to me than the script. A decent story and extraordinary characters can do wonders for a film, but you cannot do it the other way around.

I kind of put myself out there a lot just because I trust the people I'm working with. You have to see what works and what doesn't. Sometimes it's not my job to find that out, it's just my job to do what the character calls for. And if you change the character I'll do that too.

We are trying to push the envelope with a lot of characters in 'Brothers.' We are going out of the way and being honest to our roles.

When I find those actors who are going to work that hard and collaborate that deeply, my role is to make sure there's a whole lot there for them to work with.

Normally my films have a single thread of an emotion, an insight or one single belief, and then I turn the entire story and build it around that.

It's always fun to layer a character, to make the character a little bit more dynamic than it is on paper.

I can work with both the old, revered filmmakers and new directors. It is amazing how they see me in their world, and then I adapt accordingly.

I'm talented enough to do a lot of different things.