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At some point, you have to disconnect, if the obsession with playing a real person gets in the way of the movie at large. at the same time, we're all interested, as actors in trying to get as close to the real thing as we can, and whatever you can do in order to create that transformation feels fun and, for me, the furthest i can get away from myself is fun. it's all part of the costume, the accent, and all that stuff. it's about trying to get close without it being a detriment to the point of view of the story that you're trying to tell.
-Joel Edgerton
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At Some Point, You Have To Disconnect,

Joel Edgerton
At some point, you have to disconnect, if the obsession with playing a real person gets in the way of the movie at large. at the same time, we're all interested, as actors in trying to get as close to the real thing as we can, and whatever you can do in order to create that transformation feels fun and, for me, the furthest i can get away from myself is fun. it's all part of the costume, the accent, and all that stuff. it's about trying to get close without it being a detriment to the point of view of the story that you're trying to tell.
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Costume is always an asset. normal costume you have a lot to say about - if you're wearing suits or ties, and what color you want, and how it's going to be cut, and stuff like that, and whether or not you're going to wear a hat, and blah, blah, blah. but, when you're wearing a special costume, and of course, costume is probably the second ingredient in character, script being first, i always find that the costume does a lot to cement your character, to put it firmly in mind.
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If the point of life is the same as the point of a story, the point of life is character transformation. if i got any comfort as i set out on my first story, it was that in nearly every story, the protagonist is transformed. he's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. if the character doesn't change, the story hasn't happened yet. and if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.
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A light exists in spring not present on the year at any other period - when march is scarcely here a color stands abroad on solitary fields that science cannot overtake but human nature feels. it waits upon the lawn, it shows the furthest tree upon the furthest slope you know it almost speaks to you. then as horizons step or noons report away without the formula of sound it passes and we stay - a quality of loss affecting our content as trade had suddenly encroached upon a sacrament.
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You work with every actor differently. it's like if you're a mother, if you have children, some children need more discipline. other children you back off of a little bit and let them be. it's the same way with actors. some actors need a lot of hand holding. other actors like to be let be and you let them go. some actors like to be nudged just a little bit. some actors don't mind line readings.
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The way the left is reacting to the death of fidel castro up against the incontrovertible facts of who he was, you want to talk about a disconnect. in fact, i don't think it is a disconnect. i think the left, the power brokers, the leaders, i think they actually did admire the guy. i think this is what they think castro's power - i've always said, the people have asked me, how do these actors and people and these leftist politicians, how come they admire people like this? i said, "they envy their power." and i think there may be a lot to that.
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We're interested by public personas and private personas, otherwise we wouldn't put on with actors rambling on with the same kind of stuff, over and over again, saying variations of the same thing. i'm always amazed by how fascinated people still are by actors because it's the same version of events that actors describe, all the time.
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