O. T. Fagbenle Quotes

Good acting comes from finding the essence of a character.

When I act, I try to understand the character, why she's behaving like that.

For me, all you want from your actor is for them to engage on a deeply emotional level with the material. If you feel like that happens, directing the actors is pretty much done at that point.

I think my concerns are the same as every actor. Can I find this character and make it come to life properly?

So much of movie acting is in the lighting. And in loving your characters. I try to know them, and with that intimacy comes love. And now, I love Voldemort.

What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.

The trick to acting is not to show off, it's to think the thoughts of the character.

Well, I've always been a character actor, you know, and you always get your share of character actors who are bad guys. So it never surprises me. And if it's good writing, you can find your way into the part well enough.

When you watch it, you're like, Wow. I look like that. But it doesn't feel like that at all. It was about communicating with Gale Harold and getting across what I wanted to say about the character.

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

I work very hard on motivating everything I do as an actor. Explosive moments have to be completely motivated; whether they're explosive comedy or explosive horror, they have to come organically out of a scene and an interaction with another actor.

I have always been attracted to good scripts and try hard to make characters as believable as possible. That means trying to figure out how they would react to situations, what they eat, think, and feel.

It is always a pleasure to be directed by an actor because they know the scene from the actor's perspective, too. That's an advantage.

Good acting is confused with good dialogue delivery. Acting is about all about performance, and the way we interpret and understand the character that we bring alive onscreen.

As an actor, you have to find reasons why your character made her decisions, and you have to empathise with her.

I try to think what the character is thinking. Then, hopefully, I begin to feel it. I act and react not because I'm recalling a dog killed by a fire engine, but because I'm concentrating on what the character is going through.

I had an acting teacher tell me once that if you're playing a car salesman, you don't want to be an OK car salesman, you want to play the best car salesman.

In acting class, teachers talk about how the 'givens' of a situation help define a character.

The first thing I do when I read a part is see if I can identify emotionally with a character. If I make that connection, everything else is just working on knowing their life circumstances and manifesting those through practice and research.

I feel like there are things I can relate to in every character. But I feel like when you read a script, you don't get to see the definition behind someone, you just get to read what the person goes through and find a place to come from to make it real.

As an actor, you always want to find a piece of who you are in every role you take on.

Actors walk around wearing these little tool-belts of acting skills. And I just don't find that interesting to watch. I never want to see someone who clearly can cry at the drop of a hat. That's so uninteresting.

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.

I think if you work as an actress and are supposed as a character to be in love with some actor, then to some extent you do have to be in love with him.

I think you have to draw from any character and bring it to yourself as much as possible.