"I probably wouldn't make a good accountant. I don't even understand what my accountant tells me. But the character is a sort of exaggerated version of me, he's a little more frightened than I am, everything seems so much bigger to him than it does to me"
About this Quote
Broderick is doing a very actorly kind of self-deprecation here: he leads with the safe, sitcom-sized failure ("I probably wouldn't make a good accountant") and then sharpens it with a revealing confession of class-coded helplessness ("I don't even understand what my accountant tells me"). It lands because it’s funny and slightly humiliating, but also because it smuggles in a truth about celebrity adulthood: you can be wildly competent in one arena and functionally clueless in the bureaucratic language that supposedly defines "real" responsibility.
The second half is the real work. By framing the character as an "exaggerated version" of himself, Broderick offers a miniature manifesto for performance. He’s not claiming transformation; he’s claiming amplification. Acting, in this view, isn’t about inventing a new soul, it’s about taking a familiar wiring - anxiety, confusion, fear - and turning up the gain until the audience can read it from the back row. "Everything seems so much bigger to him" describes not just a character trait but a camera-ready psychology: scale is emotion. The frightened person experiences the world as oversized; the world becomes loud, looming, urgent.
There’s a protective subtext, too. Calling the character "more frightened" draws a boundary between the role and the self, letting him be vulnerable without sounding unstable. It’s a neat cultural bargain: give the audience access to your nerves, but keep authorship over them.
The second half is the real work. By framing the character as an "exaggerated version" of himself, Broderick offers a miniature manifesto for performance. He’s not claiming transformation; he’s claiming amplification. Acting, in this view, isn’t about inventing a new soul, it’s about taking a familiar wiring - anxiety, confusion, fear - and turning up the gain until the audience can read it from the back row. "Everything seems so much bigger to him" describes not just a character trait but a camera-ready psychology: scale is emotion. The frightened person experiences the world as oversized; the world becomes loud, looming, urgent.
There’s a protective subtext, too. Calling the character "more frightened" draws a boundary between the role and the self, letting him be vulnerable without sounding unstable. It’s a neat cultural bargain: give the audience access to your nerves, but keep authorship over them.
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| Topic | Funny |
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