"Even though I was theatrically trained, learning to develop a character was an awesome experience"
About this Quote
There is a quietly radical humility in that “Even though.” Corin Nemec is flagging credentials up front - theatrically trained, presumably fluent in craft, technique, and the disciplined vocabulary of acting - only to undercut the implied authority with a confession of discovery. The line reads like an actor’s version of being book-smart and still getting surprised by the job.
The intent feels twofold: to validate training while refusing to treat it as a closed loop. “Theatrically trained” signals legitimacy in an industry that loves to sort performers into “real actors” and “camera people,” but Nemec’s pivot insists that character isn’t something you simply graduate into. You can study Stanislavski, voice, movement, scene work - and then a particular role, director, or medium forces you to rebuild your process from scratch.
The subtext is about the gap between knowing the rules and living inside them. “Develop a character” is not about memorizing backstory; it’s about synthesis: finding the behavioral logic, the contradictions, the rhythm. That’s why he calls it “awesome,” a word that’s almost disarmingly unpretentious. It captures the genuine rush of realizing the craft isn’t merely disciplined labor; it can still feel like play, like invention, like stepping into a room you didn’t know existed.
Contextually, it reflects a common actor narrative - especially for someone moving between stage and screen, or between guest roles and longer arcs - where training gives you tools, but the work teaches you what to build with them. The line doubles as a subtle pitch: I’m trained, yes, but I’m still growing, and that’s the point.
The intent feels twofold: to validate training while refusing to treat it as a closed loop. “Theatrically trained” signals legitimacy in an industry that loves to sort performers into “real actors” and “camera people,” but Nemec’s pivot insists that character isn’t something you simply graduate into. You can study Stanislavski, voice, movement, scene work - and then a particular role, director, or medium forces you to rebuild your process from scratch.
The subtext is about the gap between knowing the rules and living inside them. “Develop a character” is not about memorizing backstory; it’s about synthesis: finding the behavioral logic, the contradictions, the rhythm. That’s why he calls it “awesome,” a word that’s almost disarmingly unpretentious. It captures the genuine rush of realizing the craft isn’t merely disciplined labor; it can still feel like play, like invention, like stepping into a room you didn’t know existed.
Contextually, it reflects a common actor narrative - especially for someone moving between stage and screen, or between guest roles and longer arcs - where training gives you tools, but the work teaches you what to build with them. The line doubles as a subtle pitch: I’m trained, yes, but I’m still growing, and that’s the point.
Quote Details
| Topic | Art |
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