Australian - Actor | September 21, 1965 -
I'd love to work with the people who really got the film industry going again through the '70s: Peter Weir, Bruce Beresford, Gillian Armstrong, Fred Schepisi.
David Wenham
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I do regard myself as very lucky.
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In all honesty, if somebody asked me the secret of auditioning for Americans, I don't know. Often, I do what's called self-taping for America. I go over there quite a lot to sit in a room and do stuff in front of people. You feel like a performing monkey. It's bizarre.
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Some people have heard of The Method, which originally goes back to Stanislavski... he gave you six major pointers whereby you became that character and tried to fool your mind psychologically. That's it in a nutshell. Daniel Day Lewis is an example of somebody like that who stays in character between takes.
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There's different ways of getting into character. There's what's called 'the outside,' in which is finding the physicality of the character first. To give an example, in 'Gettin' Square' - Johnny Spitieri - that's how I found that character. I knew those people that I'd seen up at Kings Cross. I knew how they sounded.
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I think actors do make really, really wonderful directors.
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In very general terms 'Top Of The Lake' is about good and evil. It's a deep dark mystery. It also deals with lots of fascinating human relationships, and it's also about the battle of the sexes.
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I was 11 when a teacher suggested to my parents that they should send me to drama classes to curb my disruptive ways in the classroom. The next Saturday I was acting, and thereafter it became a ritual of my youth to see a show at the Belvoir on Sundays and, if I was lucky, another at the Opera House on Monday after school.
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I always loved putting on shows - when you're the youngest of seven and five are older sisters, you've got to get noticed somehow! I did puppet shows and magic shows... even ventriloquism. My doll's name was 'Dan,' and I used to write these scripts, and my schoolmate hid under the table and supplied Dan's voice.
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Listening and hearing are two different things, and acting is comprehending what the person is saying, thinking how it makes you feel and responding. That's the key to really honest, truthful, compelling performance.
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My representation overseas can't stand me doing theatre because it takes me out of action. But it's what I want to do. If it means passing up other possibilities, them's the breaks.
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I've ended up spending more time in front of a camera than on stage, but the stage is where I come from.
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