Adria Arjona Quotes

My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.

My preparation is mainly just knowing the lines and getting in and knowing where your character is, knowing what it's about and having ideas that you can put in on the day.

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

I don't really prepare for each role the same way.

I like to have something to base a role on.

Preparation is really important for actors; they need to know who they are, where they're from, and the experiences up to the point that we make the film.

I like to prepare for my roles well, so you can call me a method actor to an extent.

I was amazed by the kind of preparation Hollywood actors do for their roles.

Now there are certain things you have to prepare - like dialect and special skills. But in the moment, interaction between two characters on the page doesn't need - for me, I don't need to prepare that.

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

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

I am a proud participant of the Spencer Tracy School of Acting: Know your lines, don't bump into the furniture.

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

I miss that process of getting the script and reading it and working on it. Every actor has their own way of memorizing their lines, and the whole process of starting to work with the other actors and the director, and doing rehearsals, and going to the location, and going through wardrobe.

I think sometimes soap acting gets an unfair label for being bad and over the top. The lessons I learned there were so valuable. Seeing yourself every day on television, you learned what worked and didn't work, what was bad acting and what wasn't. Memorizing scripts became second nature.

I mean, a lot of time rehearsals are taken up with other things other than preparing a character.

The least amount of info actors get, the better. Actors are always like, 'What is my motivation for this?' You didn't write it. Just say the lines.

With any actor, if you know your character well enough, you'll know pretty much what he would say under any circumstance, or whatever situation might rear its head.

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

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.

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.

My process is I try to learn my lines so they're so solid I don't have to think about them or how I'm going to say them.

The thrill of acting is the discovery part, so it all changes, but it has to change in a way that fits what is written. You can't just wander off and get interested in your own tangent.

I don't think I've ever watched a movie to prepare for a role.

As an actor, your first priority is the work - immersing yourself in the role, backstory, and bringing that to screen.