I like to be other people, not me. And when you’re on the red carpet, it’s like, ‘Here’s Tom Hardy.’ I don’t want to be me. That’s why I play other people.
With any part you play, there is a certain amount of yourself in it. There has to be, otherwise it’s just not acting. It’s lying.
We’re just musically and rhythmically retarded. We play so hard that we can’t tune our guitars fast enough. People can relate to that.
We used to play music for fun. Much more than now. Now nobody picks up a guitar unless they’re paid for it.
There is no passion to be found playing small – in settling for a life that is less than the one you are capable of living.
The process by which the idea for a play comes to me has always been something I really couldn’t pinpoint. A play just seems to materialize; like an apparition, it gets clearer and clearer and clearer. It’s very vague at first, as in the case of Streetcar, which came after Menagerie. I simply had the vision of a woman in her late youth. She was sitting in a chair all alone by a window with the moonlight streaming in on her desolate face, and she’d been stood up by the man she planned to marry.
It is far easier to play a thing quickly than slowly; some notes may then be dropped without being observed. But is this genuine music?
In designing the scenery and costumes for any of Shakespeare’s plays, the first thing the artist has to settle is the best date for the drama. This should be determined by the general spirit of the play, more than by any actual historical references which may occur in it.