Josephine Langford Quotes

As an actor, you have to find reasons why your character made her decisions, and you have to empathise with her.

I really connect with every character that I've played, just because I kinda have to; as an actor, you want to take them in and get to know them and like them; because they're evil, you kinda have to like them so that you can understand them and play them and play them with some kind of empathy.

The first thing I do when I read a part is see if I can identify emotionally with a character. If I make that connection, everything else is just working on knowing their life circumstances and manifesting those through practice and research.

My job as the actress playing Hanna Schmitz, as the actress playing any part, is to understand the character, and to ultimately love the character. And I did love Hanna, absolutely, because I understood her as profoundly as I did at the end of the day.

When I look at a character, whether he's good or bad, one scene or 10 scenes, I just have to find my way in.

After a while, the person who knows the character best is you, the actor.

Good acting comes from finding the essence of a character.

I don't chart out the life histories of the people I play. If I did, I'd be in trouble. I work with my heart and my head, and naturally emotions follow.

I think when you play a role, you always have to be a defense attorney for that character.

I don't think about the characters I choose to play, analytically or consciously.

As an actor, you can't just imitate someone. You have to get under her skin.

When I act, I try to understand the character, why she's behaving like that.

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.'

In all my characters, I try to find an iota of myself, and in Castle, I found a lot. He gets away with a lot, so that's fun.

I feel like there are things I can relate to in every character. But I feel like when you read a script, you don't get to see the definition behind someone, you just get to read what the person goes through and find a place to come from to make it real.

I sort of fall in love with every character I do; you have to understand how they became what they've become, whether they're the ugly kind or the very beautiful kinds of characters.

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.

As an actor, you always want to find a piece of who you are in every role you take on.

What I mostly do is take the script, analyse the hell out of it, see what's in there, see what kind of person I'm dealing with, and then forget I'm playing a father and just play a person who exemplifies all those things.

I still love finding the soul of the characters I play and defining who they are. This to me is my paint set, and the colors are always exciting to choose.

I don't think, there's no possible way for me, anyway, to play a character that I haven't found some sort of sublime compassion for and I related to Deborah on a way that almost, initially, almost in a way maybe someone in the audience might.

With films, you completely immerse yourself in a character, get into who they are, live it and then release it.

Actors usually respond to minor aspects of their own character or things that even feel disparate from themselves.

If I'm doing my job as an actor, the audience knows everything I know about the character.

To read a character I'm not sympathizing with is generally quite a good, attractive proposition because I've got somewhere to go, I've got work to do, to try to understand why they behave like they behave, to relate entirely and understand them and to be completely emotionally connected. That is much more fun 99 percent of the time.