"I don't sit around and study the pages of a script over and over again"
About this Quote
There is a quiet provocation in Bujold's refusal to "sit around and study the pages of a script over and over again". Coming from an actress known for performances that feel lived-in rather than over-engineered, the line reads less like laziness than a declaration of method: acting as presence, not paperwork. It's an assertion that rehearsal can become a kind of overfitting, where the actor memorizes choices instead of discovering them.
The intent is practical and slightly defiant. Script study is the respectable labor actors are supposed to advertise, the proof of seriousness. Bujold punctures that piety. She positions herself against a culture of control: the idea that character can be manufactured through repetition, that authenticity is something you earn by grinding. Her subtext is that too much study can sterilize instinct, sanding off the messiness that makes a scene believable. The best moments often arrive from attention to a partner, to rhythm, to the air in the room - not from endlessly reciting lines until they fossilize.
Context matters: Bujold came up in an era that prized craft but also lionized spontaneity, when European art cinema and New Hollywood both flirted with naturalism. Her comment nods to that lineage, and it also sneaks in an industry critique: the script isn't sacred scripture; it's a starting gun. For an actress, especially one navigating auteur-driven sets, claiming the right to be intuitive is also a way of claiming authorship over the performance.
The intent is practical and slightly defiant. Script study is the respectable labor actors are supposed to advertise, the proof of seriousness. Bujold punctures that piety. She positions herself against a culture of control: the idea that character can be manufactured through repetition, that authenticity is something you earn by grinding. Her subtext is that too much study can sterilize instinct, sanding off the messiness that makes a scene believable. The best moments often arrive from attention to a partner, to rhythm, to the air in the room - not from endlessly reciting lines until they fossilize.
Context matters: Bujold came up in an era that prized craft but also lionized spontaneity, when European art cinema and New Hollywood both flirted with naturalism. Her comment nods to that lineage, and it also sneaks in an industry critique: the script isn't sacred scripture; it's a starting gun. For an actress, especially one navigating auteur-driven sets, claiming the right to be intuitive is also a way of claiming authorship over the performance.
Quote Details
| Topic | Work Ethic |
|---|---|
| Source | Help us find the source |
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