Kaya Scodelario Quotes

The girls in 'Downton Abbey' do what they do so well, which is make it so natural despite the fact that you're living within these constraints and taking so much from the research aspect of it.

The wonderful thing about drama school is that it stretches you in a way the industry doesn't.

I'd love to have been in things like 'The Jewel in the Crown,' but of course they're terribly old English. I can do that. But I'm not that.

For Kitty Gilbert in 'Topsy-Turvy,' I had to get to the point where I could improvise in the style of 1880, which is difficult. The research for that was huge.

I understood something way back when I was on 'Three's Company.' When I got the part, I was flat broke. I was so happy to get the part, but I kept thinking, 'Ugh - dumb blondes are so irritating; how do I make her likable?' I think that I achieved that. It took a while for people to realize I was acting.

Movement is very important to a character, no matter what period you're working in. So when it came to playing Emma Jung and lacing up in the corset, it was really not a foreign thing for me.

I did a film called 'Victor' that I'm really proud of! It was a period piece and the true life story of Victor Torres. I play his mom, and it's a very moving film.

Unless it's a specific accent, or something about physicality you have to change, I am generally not such a conscious actor.

Accents are very easy for me. With me, it's clothing and makeup and hair and all that stuff that inform how the character moves and feels.

My real training as an actor was when I started doing theatre.

I've played all kinds of historical characters, but they are stuck in movies that aren't their movies.

I love auditioning. Since 'The Notebook' and 'Wedding Crashers,' I don't have to audition anymore, and I miss it. You get to show your interpretation of the character. I get nervous when I don't audition. What if they hate what I want to do?

I took theatre and stuff in college, then I took a bunch of different acting classes here in L.A. Sometimes when I have a hard audition, I'll call my acting coach and he'll come help me. I actually get more nervous in acting class than I do at an actual audition. It's actually a really great way to get over your nerves.

The more I know about America, the better I'll be at performing American characters and American stories.

The best way to honor real people when you play them is to try to tell the story of their dynamics and the struggles that they're dealing with rather than lose sight of the connections and personal relationships, and do a really good job at an accent.

I didn't go to drama school to be a musical theatre performer. I enjoyed it, but I didn't go to do that; I went to be an actor.

I'm just trying to play against ethnicity. I got to play a guy from Louisiana in 'The Pacific' named Merriell Shelton, and now I'm playing Elliot Alderman.

If you've been in drama school for eight years, you've got teachers in your head all the time.

Accents influence a performance. If you look at Stanislavski, he says work from the in to the out, and I probably overall work the other way. I find an accent and a mood, and that influences the character massively.

I was always under the impression that acting is an innate gift. One of the first things I heard them say at Koothu-P-Pattarai was that actors should realise the art of acting through their training.

All of my friends at drama school were still sat on the floor doing voice exercises and I was doing scenes with David Tennant and Catherine Tate.

In 'Shirin Farhad' I play the character of a Parsi woman. Though I was born a Parsi, in a Parsi family, I don't have the right accent.

I love all Daphne du Maurier's stuff. And just enjoying period dramas, really... wanting to do something drastically different from 'Nighty Night', the chance to write very different language.

Whether you're tall and you play a basketball player, or overweight and you play somebody who is dealing with the issues behind the weight, we all have to pull from real life to make those performances authentic.

We can list a bunch of actors who have embodied characters that aren't their nationalities, and I think that's the beauty of acting.