Tom Weston-Jones Quotes

Emotionally, I think you're going on a journey with the character, so you have to be present for each and every scene, and for me, one thing I like to do is step away between takes, away from everyone else, listen to some music, and just get into that place to help me perform.

You know, I've never been much of a method actor. I feel like, with every project I go in extremely prepared and I like to have a good time.

I've always had a process that I do before I even get to set or go to the location. I work privately, and it almost feels like therapy between me and who I'm playing. So I have this inner life that's there and it gives me a confidence, too, that when I'm playing the role I know every question.

Every actor has their own process. For me, I really need to stay in the pocket. So, if I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.

I'm not the kind of actor that can go completely cold into an emotional scene. I have to transport myself emotionally by whatever means possible, and that basically means you carry the situation with you all week, all episode or all day beforehand.

What happens with every role, you have to trick yourself, you have to creatively find ways to explore the mental state of your character.

If I can keep it light in between scenes, then that helps me dig down further than if I try and stay at that constant place all day. That's just me. Every actor's got their thing. But that's what I do.

I don't ever recall being nervous before performing because I've already stepped into the shoes and the clothes of the character.

The only thing that I always do - is once I've taken on a job, even just to do one scene in a movie, I ask myself, "What's happened the moment the kid was born, until page one of the script?" To answer that simple question, I have an infinite amount of work to do. And I enjoy that part as much as I enjoy any part of making movies.

I'm certainly not one of those actors who remain in a dark place the entire time in order to be doing the scene. I sort of come in and out of it. It can be to the detriment of my performance sometimes!

I didn't have to audition. That's common, but it had never happened to me before. Normally, I hate auditioning. I need to stew and think... let the character develop and grow inside me.

I'm the sort of actor who likes to talk about what we're going to do.

I spent lunchtime in a grave during the filming of 'Bloody Mama.' When you're younger, you feel that's what you need to do to help you stay in character. When you get older, you become more confident and less intense about it - and you can achieve the same effect.

As an actor, you're lucky if you get a month before a project starts. There are times when you get a day before a project starts. So to be able to really sit and inhabit that mind and the story is really beneficial, and it really helps for me to be able to then compartmentalize as we're shooting and detach and go somewhere else.

I'm not a Method actor. I don't believe acting should be psychodrama. I look within myself and see what I can find to play the role with. If I'm playing a blind man, I don't go around blindfolded for days. A lot of good actors would, but I don't go in for that very much. I like to just make it up as I go along.

I definitely think it exercises an interesting muscle, auditioning for bad parts and trying to figure out how to make it real. I don't know what I'm talking about now.

I guess I was an early method actress. I would go to a quiet part of the sound stage with my mother. I wouldn't think of anything sad, I would just make my mind a blank. In a minute I could cry.

As a kid, I'd go into the bathroom when I was having a tantrum. I'd be in the bathroom crying, studying myself in the mirror. I was preparing for future roles.

Any time you make a movie where you're living in a certain head space for an extended period of time, it's tough not to take a little piece home with you.

Whenever I am acting, it's everything, you know. If I'm researching a role, I'm completely consumed in that and, between action and cut, I live in this suspended time.

If I were to play somebody who ran a fish and chip shop, I would not work in a fish and chip shop for three months. Staring at chips is not going to help me in my performance.

I know there are different kinds of actors, but I tend to have less effective relationships with actors who have a very private process - who really need to do lots of internal work, so that I become merely a witness until they're ready to share.

If everyone's ready for a shot to start, except for one actor who's intent on getting to the bottom of their soul, it can be a bit annoying.

I don't like to intellectualize about my acting. I don't sit around and study the pages of a script over and over again.

As an actor, you have an accumulated knowledge base. But there's also something about it that every time you really feel like you're doing it for the first time; you have no idea whether you're capable of it.