It's about focusing on the fight and not the fright.
Sentiment: POSITIVE
Wanting to do it was much more powerful than the fright.
You're always nervous before a fight.
The fight in theatre is focus, focus, focus.
When you get real stage fright, it comes like a sledgehammer out of the blue in the middle of something that you know you've done too many times before, and there's no rhyme or reason for it. It's something quite different from being nervous. It's almost paralysing.
But I have fun with the fright, work with it. You have to - that's your timing, that beat of excitement. And when I go on stage, it's just like taking a step into heaven. Poof, you know? Poof - and there I am.
The truth of it is when you get an audience to laugh and camp along with you, it's much easier to scare 'em again because they're using two sides of their emotions. It's much easier to set them up for a good cheap thrill scare again.
Showing fear is like having comedic timing because I think actors have a tendency to go way over the top with it, and that sort of loses steam for what's going on. The audience sees right through that and laughs at you, so it is something that I'm aware of.
Worry does not mean fear, but readiness for the confrontation.
It's all about exploring the more unpredictable aspects in the character, not just fighting people.
Never forget the power of silence, that massively disconcerting pause which goes on and on and may at last induce an opponent to babble and backtrack nervously.