In comedy, you have to do all of the same stuff you do in drama and then put the comedy on top of it. You, the actor, are aware of the comedy but the character is oblivious. And you have to have a sense of humor.
If actors are trying to convey, in a smart way, the context of the scene, that becomes too self-conscious.
I don't think I've ever written anything even remotely naturalistic. The closest probably would be seen as 'Frankie and Johnny,' and that's only 'cause they eat a sandwich and make an omelet in act two. But it's a romantic fairy tale, and I'm very aware of that. I don't think it helps the actors in my plays to lose themselves in the reality of talking to another person. A good McNally actor always knows he's in a play with an audience.
(Guy) Pearce, as the hero, makes the mistake of trying to give a good and realistic performance. (Jeremy) Irons at least knows what kind of movie he's in, and hams it up accordingly.
I think one thing that's always a concern to me is you see a role, and you're not seeing the character; you're seeing so-and-so do it. Then I'm taken out of the story considerably, personally.
As an actor, one should be aware of all their capabilities. This is important, as films are becoming more realistic.
I think any actor should be aware of where they're starting to stretch into what's not truthful.
I was very conscious of the actor; watched what he did.
It is impossible to give a performance that makes you unaware of the fact that you're watching an actor and be really involved in all aspects of filmmaking.
Actors need to learn when their character is front and center and when it's more in the background.
If you're in a room and can be seen by actors, you need to understand that you can be felt by them.
And I think that when I play these villains, maybe what is different is that the audience sees me play these and they know that that's Chris and he's having fun and he knows that and he knows that and you know that and everybody knows that.
One of the things you have to be acutely aware of when shooting episodes out of order is your character's relationship with the other characters.
As a standup performer, I'm onstage, and it's important how the audience is looking at me. I'm looking at whether they're leaning forward or not, those types of things. You read an energy. And it's the same thing in a scene with other actors.
Comic timing... is how to have a relationship with the camera and deal with the camera without looking like you are.
Unless it's a specific accent, or something about physicality you have to change, I am generally not such a conscious actor.
