Developing the emotion complexities of a character:
I start from the character and motivation, and the inner workings and thoughts of a character, and this usually draws you close to a voice and a mannerism or a physicality. For example with Alison in The Affair, I get to play both sides of that character – my version from her point of view, she was someone suffocated by grief and self-loathing, so she appeared more shy, shoulders hunched, eyes averted, quiet. In Noah’s point of view, she came across as predatory vixen, so my body language was entirely different. She came across as much more confident, and in charge of her own choices.
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