At a certain point in my career, I was probably having a difficult time 'holding space.' So you get a character that has to be commanding in order for him to resonate and make sense.
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When I get a role, I try to delve as deeply as possible into the character.
As with anything, you need to keep your creative juices flowing and keep the character interesting.
Once you have invented a character with three dimensions and a voice, you begin to realize that some of the things you'd like him to do to further your plot are things that such a person wouldn't, or couldn't, do.
It's hard to hold the focus that strongly on a single character for that long.
When I'm composing a scene for the first time, I try to imitate my character. The less critical distance the better - particularly when they're acting badly.
I'm a big believer in sort of sense memory, like using something that you've experienced in order to put yourself in the position that the character is in.
It's actually meditative to sit in a character for an extended period of time, realizing what your relationship is to who you're playing and then letting go, just being there.
If you can just actually let the character be for a bit, then you get the right sense.
To me, the psychology behind the character is critical. So I work very hard to get into the mind of the man that I'm going to be playing, because number one, I want to understand why he's doing what he's doing. It's essential, it's absolutely essential.
You have to be completely in the character, and that's so hard to do. That's why, when they call, 'Cut!,' you often feel yourself shift. Unless you're Daniel Day Lewis, who stays in character all the time, there's a switch that happens.
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