Rose McIver Quotes

For me really good acting is about subtext.

When you see something that is well-written, the actors can get behind it.

If you know exactly what your character knows, it's a drama.

As an actress, you have to give your character a life, a history, and make it full and rich for yourself.

In day-to-day life, our brain sends lots of signals. In acting, there are no signals. You have to believe in what you are trying to portray.

When people embrace character, there's latzie. It's the stuffing of a scene that's not written. It's not in the stage direction and it's not in the words. When people embrace character, it informs their living, breathing moments in a scene so well.

As an actor, secrets and obstacles fuel the character.

You really have to take your time; you have to know your character and your scene. The line you are about to say comes from the moment right before. It's not what's said, it's what is in between the spaces, it's what's in between the lines; that is the most important to play.

Actors must practice restraint, else think what might happen in a love scene.

All I want to see from an actor is the intensity and accuracy of their listening.

As an actress, it appeals to me because I love the idea of playing those in-between moments, the sort of behavioral stuff that one might not normally see.

I always have a rule that acting is acting and truth is truth and you just go out there and you do it. But what happens in each medium is that you have other responsibilities. The acting remains the same, but each medium dictates assuming other halves to make the acting work.

A lot of actors and actresses pull from past experiences.

As an actor, you work to the script: that's our main priority. But you have to be aware and look around for things that help you bring that little bit extra, that touch of realism that rams the point home.

Acting is not rocket science, but it is an art form. What you are doing is illuminating humanity. Or not.

Your job as an actor is to piece together whatever you've learned in your training, or whatever you have experienced in your life, to piece together a person.

I think there's this idea that the depth of an actor's performance is built on tough times or horrible events or isolation, but I never found that. I figured that my imagination coupled with the story can get me anywhere.

Sometimes you read things that people don't even notice in a performance, that you just are moved by or understand that this actor is really living his or her life on the screen. The first time I realized that was when I watched Brando in 'On the Waterfront.'

I like method actors who don't focus on the glamorous side, but on realistic acting.

My approach is always the same. I try to be as honest as possible. Find the real honesty and humanity in the character because even a fictional character is supposed to feel real. And my job is to find that reality and bring it to the screen.

For an actor, it's not like you have to go crazy to do an intense role.

For a time, I really thought acting was just impersonating. But impersonation is just big brush strokes, really. What makes acting different is empathy.

It’s more than just saying lines and turning the light on. You have to drive the story - there’s a technical aspect.

I'll never approach a part in the same way again. Piaf taught me so much. In terms of my work, I think I'll enjoy it even more than before, because now I know that characters truly exist in their own right. I'll have a way to bring them even more intensely to life.

The intimate conversations have its moments, because you have to sell the characters, because there is so much going on. It's so easy to get lost in the special effects and forget about the performances. The dialogue scenes have been great. It's been great working with Bryan and the writers to find where we're going and what's the story. Yeah, it's been really, really interesting.