Sarah Lancashire Quotes

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.

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.

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.

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.

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.

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.

I don't even know who my character is in 'Grey's.'

I do not use any set methods, not even The Method. The character after all is in the lines.

I'm not the kind of actor that would know what my character had for breakfast last Tuesday.

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.

When I shoot, I try to feel the body and the face and the weight of the actor, because the character until that moment is only in the pages of the script. And very often, I pull from the life of my actors. I'm always curious about what these characters and these actors are hiding about their lives.

In the work that I normally do, you have a whole script, a whole arc, that you play. And I do believe a good actor will play every bit of information they're given.

I demanded two weeks of rehearsal because to me as an actor, that's the most important time.

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

As an actor, I like to get a bit of momentum going with a character and kind of work a bit quicker. I mean, not crazy-fast, but, you know, five or six pages a day is a nice pace.

The least amount of info actors get, the better. Actors are always like, 'What is my motivation for this?' You didn't write it. Just say the lines.

Part of an actor's job is to draw up a back story.

I do build my own backstory as an actor. It's important to know where your characters have come from in order to know where they're going - in order to exist in that state of being.

In every film, whether it's a fictional character or not, you create an idea of the character and for me I always do a bad impersonation to start with.

When I start thinking about a role, I read the script a few times and then let it sink in - and then take some time to develop how that character is going to play out and what he's going to do.

I like to have something to base a role on.

A script narration is like watching a film, and I react to it like an audience with my own instinct. After that, I look for what is my character, what will I bring to the table in that role, how challenging will it be.

When I come onto a show where I haven't met any actors, I try to zero in on the script and what's expected of the character I'm going to play and hopefully keep my focus on that, and friendships develop from that.

As an actor, your first priority is the work - immersing yourself in the role, backstory, and bringing that to screen.

I'm not really a guy who draws on things from my own past. I think if you're a competent actor with a good imagination, and if it's on the page, it makes your job a lot easier. If it's well written, it allows your imagination to run wild and draw inspiration from that.