Sonya Walger Quotes

For any role, I pretty much always go to the script, first and foremost.

In the work that I normally do, you have a whole script, a whole arc, that you play. And I do believe a good actor will play every bit of information they're given.

As an actor, you really want to respect and honor the script. You want to try to be in the moment and you also realize that you're one part of a bigger picture and when they call action, you have your dance.

Part of an actor's job is to draw up a back story.

It took me a long time to realize that you have to have a bit of an interlanguage with actors. You have to give them something that they can act with.

A script narration is like watching a film, and I react to it like an audience with my own instinct. After that, I look for what is my character, what will I bring to the table in that role, how challenging will it be.

As an actor, I have always felt, everything is available in the script. If there is anything you feel the script lacks, you can have a discussion with the director and point out those.

I think that different actors go about their preparation differently, but when it comes to acting, I use my imagination.

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

I'm not the kind of actor that would know what my character had for breakfast last Tuesday.

I always find that it's when a script is not detailed, then I have to do more work as an actor.

I've never committed to a role without a script.

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.

The process changes slightly from role to role. Obviously, there are different things you're called on to do. You're not digging deep for Basher Tarr like I was for Paul Rusesabagina, but at the end of the day it's still all make-believe and you still are trying as realistically as you can to depict these characters.

When you do a play, or even a movie, you have weeks to finesse your character. You really understand why they do what they do. In TV, you get new material weekly about your character.

I never practice before, I never work hours on a script. I just choose my characters and trust them, and after that, it's about the director taking your hand.

Well, first of all, you read the script a million times. Because what the script gives you are given circumstances. Given circumstances are all the facts of your character.

I work a lot; I love to compose, ponder, and take notes when preparing for a role. I cut all the scenes, collate the images, form the character and shape its personality, then I make meticulous notes and transcribe each scene on my notebook.

As a director, I also get to sit and watch actors and learn from them in a way that I don't get to do when I'm just acting.

A lot of actors are like, 'Why do I do this? My character wouldn't do this? This doesn't make sense.' And in a comedy, you kind of just need to walk into the door.

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'm good with a script.

When you're an actor, actually, you shouldn't come up with too many ideas.

Most actors are pretty adaptable because we work with so many directors.

There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script.