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ACTORS

Cillian Murphy: It Takes 30 Years To Make An Actor

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Cillian Murphy

In an interview with The Guardian, Murphy admits that despite his long list of credits he does not yet feel like an actor because of something a director once said to him. He recalls, “A director, I forget who, told me that it takes 30 years to make an actor. And I believe that. You have to learn your craft, learn your trade – and also you have to live a life and experience things. I have been doing this for 20 years now so, hopefully, in another 10 years I will be an actor.”

In fact, Murphy credits much of his success so far to simply being persistent. He explains, “Honestly, if you stick around long enough, don’t make an idiot of yourself and aspire to make good work, people go: ‘All right. He is here to stay.’”

Part of that persistence results from Murphy being solely dedicated to acting ever since his breakthrough. He points out, “I have not been interested in anything else. I know I am old-fashioned, but I don’t want to bring out a fashion line, I don’t want to bring out an album. I just want to do the work as best as I can and if that effects change for somebody, then that is great. I don’t want to change the world.”

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Woody Harrelson on Choosing Projects

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Woody Harrelson

Harrelson recently starred in big-budget films like The Hunger Games and will also appear in the upcoming Star Wars Han Solo spinoff movie. When asked why he decided to star in a smaller, more modestly-budgeted movie like Wilson, Harrelson answered that he makes decisions based on who is yelling “Action!” He responds, “Well, I’m really more or less in the habit of … Having had some experiences where I was just like, That was stupid that I did that movie, I learned one thing — the most important thing is the director. The second most important thing? The director. [Laughs.] The third most important thing? The director.” He claims that he signed up for Wilson because he enjoyed the previous film directed by Craig Johnson, The Skeleton Twins.

Even though Harrelson has been actor for several decades, he claims there are still several skills he is trying to master. For example — effective dramatic pauses. He explains, “I remember hearing this thing that … I think it was Brando who said [does Marlon Brando impression], ‘Just because I say action doesn’t mean I have to do anything.’ That statement really hit me. Brando’s ability to just say, This is me in action. Not rushing. I wouldn’t say it’s one of my strengths, but I do think it’s something I’d like to be able to just … working with Hailee Steinfeld [in The Edge of Seventeen] — she’s a very young actress but I think she’s super fucking talented and I love how she can just take a long time before she [long pause] does anything. It’s something I want to learn. By the way, you still want to try and make your performance compelling. You don’t want it to be full of the most boring pauses… There’s so much to nonverbal communication that I have yet to really understand as an actor, and maybe as a person. Just like the beats between the lines of a poem having so much import. The times where you’re saying nothing, but there’s that something going on that makes it compelling. That, to me, is pretty interesting.”

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7 Truths About Supporting Yourself As An Actor

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  1. There is no right or wrong way to support yourself as an actor.
  2. Acting is a business, and you need to support it.
  3. You need to support yourself too.
  4. You and your business are two separate entities.
  5. Cultivate a thriving income stream, not a survival job.
  6. The best kind of income for actors is steady/flexible income.
  7. Have patience and create a long-term plan.

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Chris Evans on How Characters Mirror the Audience

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Chris Evans on gifted

One of those roles is starring in 2017’s Gifted, in which he plays an uncle to a genius seven year-old named Frank Adler. In an interview with Esquire, Evans speaks about what he learned from Julianne Moore about what the audience seeks in movie characters, and why audience members could identify with his Gifted character more easily than Captain America.

Evans says, “With Steve Rogers, even though you’re on a giant movie with a huge budget and strange costumes, you’re still on a hunt for the truth of the character… With Adler, it’s nice to play someone relatable. I think Julianne Moore said, ‘The audience doesn’t come to see you; they come to see themselves.’ Adler is someone you can hold up as a mirror for someone in the audience. They’ll be able to far more easily identify with Frank Adler than Steve Rogers.”

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Christina Ricci on Why it’s So Hard to Cast Her

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Christina Ricci

Unfortunately, like many actresses over thirty Ricci has had difficulty landing substantive, high-profile roles in the last decade. She believes part of that results from the youthful roles she is commonly associated with as a former child actor, saying, “I think until this I haven’t really been viewed as a romantic lead. And I think in some ways the image I presented of myself throughout the years has caused people to have a hard time casting me… One of the things that has actually been hard for me, in terms of being cast in things, is that I am very youthful seeming. The way that I speak, the way that I act — it’s very young. … And I also tend to speak like a teenager. I just have a very teenaged thing, which I’m trying to overcome. You’re very easily dismissed if you’re a small woman who looks young and then talks like an idiot, or a teenager. It’s not a good look. … I say ‘like’ a lot and ‘you know’ a lot and all these things and I’m trying to fight them.”

However, Ricci is quick to add that she doesn’t regret being a child actor — although she cautions parents about the lifestyle. She explains, “I don’t regret having started so young because I’m in such a great place and I’ve been so incredibly lucky in my life. But having gone through it, I can objectively say I don’t think children should be making life decisions. … I think it’s very difficult for children to contextualize fame. And if there’s no reference, there’s no life experience, they can’t necessarily contextualize achievement. So then there’s no barometer. If the first exposure to society is crazy fame and awards, where does a child put that? It becomes something that isn’t special. So what comes after that?”

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