Eddie Redmayne Quotes
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What an extraordinary thing it can be, love, how it will not defined by gender, by sexuality, by race, by religion, by anything. It's something else. It's something other.
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As an actor there's a lot of scrutiny and, even when you've had success, it becomes about sustaining that success. A friend of mine described it as a peakless mountain. Even for De Niro there's Pacino and for Pacino there's De Niro.
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Our dream as actors is to tell interesting stories about interesting people.
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Ladies and babies, and mortgages, for that matter, can all wait. Acting has done a strange thing to me, though. I often sit there, thinking, 'I love this, but I wouldn't put my daughter on the stage.'
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I'm quite ignorant about fashion and I'm colourblind, so it's all a tad tricky. My only knowledge of that world comes through Christopher Bailey, whom I first met in 2008 when I did a campaign for Burberry that featured musicians, artists, actors and sportsmen.
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Filming is about continuing to be alert and to think, and I find it quite exhausting.
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I'm one of those people, when I see a film, I believe it to be true. You know, sort of the authenticity of the camera and seeing things on a screen.
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It can be a miserable profession, acting, because you always want what you can't have.
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I always try to describe making movies like summer camp, or some holiday where you spend all day, every day with a new group of people whom you kind of love and then never see again.
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My first film, 'Like Minds,' was with Toni Colette, who was extraordinary. I mean it was basically a mini-masterclass for acting on film at a time when all you could probably see were my eyebrows bouncing up and down on screen.
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If you're an English actor and turn up in America, they don't have an opinion about where you sit. They have no idea what auditions to send you to, so they send you to everything.
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I suffer from a more complex, persistent fear. It manifests itself in nerves, and on film the camera sees even the tiniest evidence of this. So you have to learn that when the director calls 'Action,' you don't go to this place of tension, but somehow you become free.
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A lot of people think theatre must be much harder work than film, but anything histrionic or superfluous gets seen on camera so you have to work to distil it into a complete sense of what's true.
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The thing about motor neuron disease, once a muscle stops working, it doesn't start again.
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They're such hierarchical things, film sets, they're sort of mini societies. Often they're incredibly political places.
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I walk around talking to myself in accents. Usually people look at me like I'm a complete fruit loop.
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Two years ago, I shot 'Pillars of the Earth' in Budapest - it was a big part, but I had a lot of time to sit around and visit cafes.
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'Animal Ark', was when I was fourteen years old, and it was an ITV children's program, and I did an episode called, 'Bunnies in the Bathroom.' And I'm not sure if it was my finest hour.
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I try genuinely, when I'm playing a character, to not judge them and just to inhabit someone as how one sees them. That being said, you also want to make sure that you don't blur the edges of people too much because humans are naughty and complicated beings.
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I've played women since I was a kid and I've always enjoyed it.
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When you start out acting, you dream of getting an agent and getting a job. For years, you audition and you get what you can. Choice isn't something that you have much of.
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I'll always find the things that make a role complicated!
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The percentage of actors employed is pretty small, and if you're lucky enough to have a good run at it, you do have a sense of responsibility.
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I wish I could describe anything I do as conscious or strategized. To be honest, in acting, you have so little control. The only control you have is if you're lucky enough to be in a position, which is not very often, in which you have choice. It's about what choices you make, and for me, it's entirely instinctive.