Martin Starr Quotes

When I look at a character, whether he's good or bad, one scene or 10 scenes, I just have to find my way in.

When I read a script, the important thing is that I can connect in some way with that character and have some idea from what his story is that I can tell that story too, because that's all acting is, is storytelling.

There's no set rule, but when you look at the script, you start thinking about this person and how to create this human being on screen. You dig deeper into a script.

The more I love the character, the harder it is to get it wrong. I have to get to a point that I can speak for them.

I think it's important that a director be able to know his characters inside and out.

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.

Acting can be a narrow and isolated experience, because you only examine your particular part.

When I approach any script, I always try to find what I would relate to most in it.

Well, first of all, you read the script a million times. Because what the script gives you are given circumstances. Given circumstances are all the facts of your character.

There are always practical decisions to be made about any character you're playing.

If I'm doing my job as an actor, the audience knows everything I know about the character.

If I'm reading a script, and I'm not buying it, I need to be able to relate to the character on some level, and they need to have more than one dimension. I need to have an idea of what this guy's thinking about when he's taking a shower not on camera. And if I can't picture him taking a shower and getting dressed, then he's not a real person.

I spend a lot of time with my characters.

When I take on a role, all I tend to do is get to know the script and ask millions of questions, and keep fine tuning what I think the character is trying to say.

I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.

Making a film of a work you've played for six weeks gives you intimate knowledge of the character. By the time you go in front of the camera you've worked out the behavior and life of a character.

I've always felt, even with sketches, that if you don't care about these people, then it doesn't matter.

I'm not a method actor. I try to stay separate but to imagine what they'd feel, to put myself in their shoes.

I'm focused on finding characters I connect to.

During the inception of 'Zindagi Gulzar Hai,' we studied the characters and the script in depth so that we could imbibe the essence of it in our performance.

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

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.'

It's always incredible though when you feel like the writer knows the character intimately and can see their life sprawling away outside of the show.

If we get caught up in a story, it's because we've started to care about the characters, and that can only happen if we've moved beneath the surface.

One of the things that separates a good genre movie from a bad genre movie, I always think, ironically, is when you care about the people. The dime a dozen ones are where you don't have any awareness of the character.