Asa Butterfield: Actor
JAY
Hi Asa, Thanks for your time. To start off with, I'd like to ask, when you choose a script, what is it that you look for? Do you feel you need to relate to it, by any chance?
ASA
It doesn't always have to be something I can relate to, because there would be a lot of characters who would have gone through some incredible life experiences or tragedies which I can't relate to, but would have to put myself into their shoes - I think what I'm most attracted to are compelling, believable character arcs; a trajectory that goes on a path which doesn't take too many random turns, and has good dialogue. I think that's an absolute important part; having dialogue you believe the character can be saying. I guess, an exciting plot, which I may haven't necessarily seen before - finding something that feels genuinely fresh and unique is always exciting. Those are some of the things I focus on. But, I'm not a screenwriter, I can't give the best advice on characters, Whenever I try my hand at writing, I've never been able to do it, So, that's something I'm working on.
JAY
How do you deal with switching in and out of character, on set?
ASA
For me, it really depends on the character. There are some which I find really easy to slip into, whether it's because they are very familiar, or are similar to me.Otis, from Sex Education is someone I know very well, and I don't need to think too much, beforehand. But, there are other ones which were quite challenging. In the movie X+Y, I remember, especially in the beginning, trying to figure out this character, during the time I was developing my working relationship with the director. There were times when I was struggling to find the character and it would take a few minutes to know where I am at a particular point. I think you need to give yourself time, it's really important. Don't let others pressure you, if you have that luxury.
JAY
How do you deal with auditions?
ASA
I've definitely got better at it over time but I still have auditions and meetings with directors, which can be a nervous experience. It's not a nice feeling, but the fact that you can get nervous may mean you care about it. You can use those nerves, in a sense, use the energy, or otherwise, give yourself time to relax. You're going to be doing many auditions in your lifetime, and if you don't get it, you know it's not going to be the be-all-end-all. There will be other opportunities, don't rest on one.
JAY
What was it like to work with Martin Scorsese?
ASA
I think if I'd work with him now, I'd be a lot more nervous. The fact that I was a kid, I was 7 years old when I worked with him, meant that I didn't think too much about it, and I was going along with it. He is kind of a mentor. I think, more than anything, what he taught me was the appreciation of film-making history. Prior to doing Hugo I don't think I totally understood all of the elements that went into making a film. Different crafts,cinematography, set design, music, lighting. Hugo was a masterclass in every single department. It really captured my imagination. Martin gave me films to watch over the weekend, and during the next week, he would ask me questions about them. At the time, I didn'trealise how lucky I was to have that kind of tutoring from someone like that. I would love to work with him, again.
JAY
Do you set goals?
ASA
I don't set myself goals, in terms of trying to do x-number of projects in a time frame. I think, with acting, as a profession, there are so many ebbs and flows. There are busy times and quiet times. You can't let that dominate your mindset. I remember there was a period of time, a year and a half, when I wasn't doing any work, and I feared, "Am I doing something wrong?" And, no - I wasn't. It's just that projects come and go, and the project that's right for you will eventually come around. But you can't force yourself to try and achieve things, because films take forever to make. So, there are going to be quiet times, but there are also going to be busy moments.
JAY
Thanks for your time.
ASA
No worries!
Comments