Ophelia Lovibond Quotes

If you're cast right you can actually just let yourself go because all your gestures will be right, all your intonations will be right because you just somewhere understand who this person is.

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.'

When I read a script I either immediately identify with the character or I don't. If I find myself reading the part in my own voice I think 'This is a bit of a drag, isn't it?' and it's no good.

I have to believe in the character to perform it.

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.

I always find something in all the characters I play. I fall in love with them a little bit.

With every character that I've ever played, I felt like I just understood the way that she thought and how she was.

For me, the audition process always starts with a few questions: Who am I? What am I trying to get across? Why am I trying to get that across? Where am I emotionally? It's a lot to do with my foundation, and I go from there.

I always read the script, try to imagine myself in the role, then decide whether I have anything to give to the part. If you don't feel like that in the beginning, it is not going to go well.

I think you always need to be able to relate to your characters, but that doesn't necessarily mean...you have to understand why they do what they do, but you don't actually have to be like that yourself.

It's a hard thing to do, to be given a script, and know that you've got to turn up on the first day of the shoot - generally without having had any rehearsal - and present a character. It's really baffling; it's incredibly hard to know how to begin, to approach it, other than just thinking about it.

I have a hard time watching films and not thinking how I would play any part, whether it's a man or a woman.

It's not like every actor needs to train, but an actor will either develop their process through training or through working.

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.

Acting is an imaginative exercise. It would be odd if you didn't try to identify with the roles you play, but I think I can differentiate between where my imagination is leading me and where I actually am.

The screenplay has to be gripping. That's when the film will work. Then, I see how much I can relate to the character I'm playing.

I run the Actor's Studio on the West Coast, and one of the things I say all the time to the people I teach - many of whom are acting teachers - is that an actor needs to make choices that make him present.

As an actor, you tend to draw on your human instincts and your background, what you've gone through as an individual.

I worked with my acting coach one-on-one for hours and hours, every single day for two months, before even setting foot on set or putting on Jessica Jones's clothes.

As an actor, you always want to root for your characters.

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

In general, between an actor and a character, there needs to be a falling in love, if you will - which I'm saying in quotes.

I always look for the character that gets into your guts and tells you, 'You have to play this.' You have to be brave enough to let everything else go and let the character guide you. When I read a script, I look for that kind of pull.

For me, if the words are good on the page, the rest of it comes from spending some time with the script, and not like you're learning lines but absorbing what the script has to offer.

When I prepare for a role, I try to get inside the character's head and understand him.